Digitized by the Internet Archive in 2019 with funding from Getty Research Institute https://archive.org/details/memorialsofjeypoOOhend , ' > * THOMAS HENDLEY SURGKON-MAJOR, l.M.S. SSRSM INDUSTRIAL ART _ n * CB82 V It • * in. i i Jmfrobitcforg ^Tofice. The Memorials of the Jeypore Exhibition were prepared by me for H.H. the Maharaja of Jeypore, at whose expense they were published. There were four volumes in the original work, of which the first contained, besides a number of chromo-lithographs, a general description of the plates in the first three books. The fourth book was complete in itself and, in addition to text, included reproductions in platinum of the illustrations of the Emperor Akbar’s own copy of the Razmnamah, the Persian version of the great Indian epic poem known as the Mahabharata. The second and third volumes of the “Memorials” each contained one hundred photographs of Indian art work. A certain number of sets was completed, and presented to the leading Museums of the world or to distinguished persons. A very few copies were sold. As there is, of course, a very limited demand for a work costing a large sum (a set was lately announced in Germany for sale at it has been decided to issue all the printed matter and coloured illustrations in one volume. Any person who desires to possess the photographs will, however, be able to obtain them at a reasonable rate from Mr. Griggs, the publisher, to whom I again take the opportunity of expressing my best thanks for so ably carrying out my ideas. T. H. HENDLEY, Surgeon Lt.-Colonel. Jeypore, April, 1893. A f ✓ MEMORIALS OF THE JEYPORE EXHIBITION 1883 . -o-4-oCo-t- CONTENTS. VOLUME I. Autotype Portrait of H.H. Mahdrdjd Sivvai Madho Singh, of Jeypore . . . Frontispiece Design for book-binding, by an artist in the employ of H.H. the Mahdrdja of Ulwar Title-page [The designs for all the title-pages, the page borders, and the covers of the four volumes are by the same hand.] Introduction. page v Industrial Art at the Jeypore Exhibition . . . i to 70 CHROMO-LITHOGRAPHS. PLATE I.—1. Crutch and part of staff of Mahdrdjd Mdn Singh, of Jeypore. 2. Ornamentation of the staff in detail. Jeypore. II.—Designs for modern Jeypore enamel. Jeypore. III. —Handle and mounts of a sword, in damascened steel and gold enamel. Ulwar. IV. —Curved sword and scabbard. Ulwar. V.—1. Knife. 2 and 3. Two sides of a dagger. Jeypore. VI.—Mounts in silver enamel of a dagger or knife. 1 and 2. The two sides of the upper mount. 3 and 4. The two sides of the tip mount. Jeypore. VII.—Three different views of a gold-enamelled Persian dagger. Jhallawdr. VIII.—Water bottle. Silver parcel-gilt enamel. Bahdwalpur. IX.—Scabbard of a hunting sword (Plate X.). Gilt brass and niello. Jeypore. X.—Hunting sword, steel, with outlines of figures in gold. Jeypore. XI.—Four daggers with jade handles. Jeypore. XII.—Padded coat and steel breastplates. Tonk. XIII. —Damascened steel breastplates. Jeypore. XIV. —State robe of the founder of Jeypore. Jeypore. XV.—Powder flask, buffalo horn and ivory. Jeypore. XVI.—Powder flask, buffalo horn, ivory, and mother-o’-pearl. Etawah, near Kotah. VOL. I. PLATE XVII.—1. Silver inkstand. Jeypore. 2. Silver parcel-gilt centre piece. Tonk. XVIII.—Silver plate. 1. Tumbler. Bikanir. 2. Water vessel. Jeypore. 3. Perfume stand. Tonk. 4. Salver, silver niello. Jeypore. 5. Salver, parcel-gilt. Tonk. XIX.— 1 and 2. The two sides of a papier mache vase. Kashmir. 3 and 4. Painted lacquered work. Jeypore. XX.—Bedstead legs, lacquered wood. 1. Kashmir. 2 and 3. Bikanir. XXI.—Carvings in white marble. Jeypore. XXII.—Carved wood panels. Ahmedabad. XXIII.—Marble niche and painted marble figure of Hanuman Jeypore. XXIV.—1. Brass box. Made at Poona. 2. Water vessel. Old work from Tanjore or Tirupati. 3. Copper water vessel with silver ornaments. Tanjore. [Copied from originals belonging to Surgeon-Major Hendley.] XXV.—Engraved brass tray. Old Moghul period. [Copied from an original belonging to Surgeon-Major Hendley.] XXVI.— 1. Silver parcel-gilt jug. Kashmir. 2. Enamelled copper water bottle. Kashmir. 3. Cup. Bugru. XXVII.—Outlines of ornament on a silver service belonging to Surgeon-Major Hendley. Ulwar. XXVIII.—Two vases of semi-translucent pottery. School of Art, Jeypore. XXIX.—Copy of a rug belonging to Surgeon-Major Hendley. Ajmere. XXX.—Outlines of Kashmir papier mache work. XXXI.—Outlines of Kashmir papier mdche work. XXXII. to XXXIX.—Facsimiles of old Persian paintings. Selected on account of the great variety and beauty of the border patterns. CONTENTS. VOLUME II. Plate XLIX. 4, 5, 6.—Ivory Carving. Plates L. to LVI.—Persian Armour and Metal Work. „ LVI I. to LXXII.—Damascening and Incrustation Metal. „ LXXI 11 . to LXXVIII „ LXXIX to C.—Silver 1 Portraits of the Emperors Shah Jehan and Aurangzeb, from a contemporary drawing belonging to Surgeon-Major Hendley A book-binding pattern, by an Llwar artist Plates I. to XLIX. 2.—Arms and Armour. Plate XLIX. 3.—Silver Plate. Frontispiece Title-page Work in Base Metal VOLUME III. Plates CLXXV. to CLXXIX.—Native Musical Instruments. Plate CLXXIX. 1.—Gold Enamel Staff Plates CLXXX. to CLXXXV.—Manuscripts and Paintings or Illuminations. Plate CLXXXVI.- Interior of the Gate of the Jeypore Resi¬ dency. Plates CLXXVII. to CXCVI.-—Views of Jeypore. „ CXCVII. to CXCIX.—Views of the Interior of the Exhibition Building, Jeypore. Plate CC.—View of the Palace and Lake of Amber. Title-page VOLUME IV. Book-binding Patterns from Ulwar . Chromolithograph reproduction of Plate XCVII. » „ „ CXVIII Title-page Abridgment of the Razm Ndmah Plates I. to CXLVIII. and XLIII. (bis).—Illus trations of Razm Ndmah to follow p. INTRODUCTION. These volumes are intended to form a permanent memorial of the Exhibition which was held during the first two months of 1883 at Jeypore, the capital of the Hindu State of the same name in Rajputana. The publication is justified by the large attendance, which reached nearly a quarter of a million ; by the number, rarity, and artistic value of the contributions ; and by the great interest shown by all classes in the undertaking. It is, moreover, a positive duty to take advantage of every such opportunity as that afforded by the Exhibition to secure, for the benefit of the public and of the Indian workman, copies of the beautiful art treasures which still exist in the country, but are being rapidly dispersed throughout the world, with the certainty that such masterpieces will never be produced again. Most of the illustrations in the first three volumes of the ‘ Memorials of the Jeypore Exhibition ’ are of objects worthy of imitation, but a few plates have been included of productions which show what should be avoided, and what mischief has already been done by the contact between Oriental and European art. As the Eastern mind has great delight in the wonderful and eccentric, it is not surprising that the Indian workman should have most frequently selected patterns which he ought really to have avoided ; but we are quite prepared to find that even in these cases his own artistic sense has often led him to strive to cover ugly forms with a wealth of beautiful ornament. It will not be out of place to give a brief account of the origin and history of the Jeypore Exhibition. On August 26, 1881, an Economic and Industrial Museum was opened in Jeypore, to instruct and amuse the common people; to present to the craftsmen selected examples of the best art work of India, in the hope that they would profit thereby; to bring together specimens of local manufactures, in order that strangers might see what could be obtained in the neighbourhood; and to form a collection of raw products of the State and surrounding districts, regarding which full information should be obtained, so that the Native Government might secure the utmost benefit from the natural resources of the country. In short, it was decided in every possible way to educate the people in the most pleasing and interesting manner. The experiment was completely successful from VI INTRODUCTION. the first. From October 1881 to March 31, 1882, the attendance at the Museum amounted to 203,451 ; during the next twelve months it was 270,305, and the author understands that its popularity is maintained. Intelligent interest has to a great extent replaced the first feelings of idle curiosity, and it is quite a common thing for artisans to go to the Museum for a few minutes to study, whilst visitors to the city always bring in their friends. With the view of obtaining a more complete knowledge of the resources of the Jeypore State, of completing the Museum collections, of stimulating the local work¬ men, and of comparing the manufactures of Jeypore with those of other places, it was decided to hold an Exhibition, and to invite contributions in all classes from Rajputana, Malwa, and the neighbouring Provinces, and in some special divisions from all India. Cordial assistance was obtained from all quarters. T.E. the Viceroy and Lady Ripon, twenty-five native princes, with many nobles and private individuals, sent valuable and rare articles to Jeypore. A splendid collection of raw produce, affording a fine field for future study, was secured, and during the two months and two days the Exhibition remained open no fewer than 236,950 persons passed through the buildings. Admission was free, because the people were to be taught and pleased, and it was not the desire of H.H. the Maharaja to profit directly by the enterprise. To understand the pleasure derived by the poor in India from such exhibitions, it must be borne in mind that there are no picture galleries in the East, and that the shopkeepers do not display their wares openly for general inspection, and thus that few are acquainted with the beautiful art works for which their country is renowned in the West. The Exhibition was held in a large palace which was completed for the purpose. I he collections, which comprised more than seven thousand separate contributions, were displayed in a large hall, measuring about 75 by 60 feet, and in a series of galleries and small rooms on the two floors of the building. The palace was 212 feet long and 135 feet broad, and was approached from a magnificent terrace, which commanded a fine view of the residence of the Maharaja and the forts and hills which surround his capital. The exhibits were divided into the two great sections of Raw Produce and Manufactures, and into ninety-seven classes. A number of gentlemen, both European and Native, who were known to be specially qualified for the work, accepted the invitation of H.H. the Maharaja and the Committee to act as Jurors. 1 They awarded thirteen gold, eighty-five silver, one hundred and nine bronze medals, and twelve special certificates. 1 List of J urors :— 1. Raw Produce. Dr. Kunny Loll Dey, Rai Bahadur. Babu Trilokya Nath Mookerjee. Babu Charu Chunder W. R. S. Jones, Esq. Babu Mohendro Nath Sen, Judge. Dr. Jodoonath Dey, Jeypore. B. B. Blood, Esq. Major Jacob, R.A. INTRODUCTION. Vll There were two classes of bronze medals, one carrying a money award of eight rupees, the other one of five rupees. These money prizes were given to meet the wishes of the artisans, many of whom took bronze medals. In comparing the numbers of medals allotted by the Jurors with those given at some recent exhibitions, it is desirable to state that the objectionable custom of granting certificates to the effect that the holders were entitled to receive gold medals provided they paid for them was not adopted. The persons who support, manage, or contribute to such exhibitions as that held at Jeypore, have a right to protest most energetically against the creation of a paper class of first prizes, which, in the eyes of the general public, cannot be distinguished from their own more costly and solid awards. The most valuable contributions to the Jeypore Exhibition were arranged in the great hall, which was lit with gas from chandeliers suspended from the roof. Two wooden towers 1 were designed by Mr. Cole, C.E., for the reception of rich brocades and other textiles ; the walls were hung with the magnificent old carpets of Jeypore, or reproductions of them made in the Jail factories, with copies of paintings from the frescoes at Ajunta, and with old pictures. In the centre of the east side of the room, under a heavy canopy of cloth of gold, were placed, on a raised dais, 2 two silver thrones and rich specimens of elephant, camel, and horse trappings, flanked by dummies dressed in ancient armour. In a number of cases on the north side of the hall, made in Bombay by Mr. Wimbridge, on the model of those used at the South Kensington Museum in London, the loans from the Rajpiitana chiefs and nobles were exhibited, while those contributed by the Viceroy and Lady Ripon, the chiefs of Malwa and the Punjab, and other high personages, were shown in similar cases on the south. Enamel on the precious metals, jewellery, the glorious Punnah diamonds, the magnificent crowns from Rewah, and other ornaments from Rewah and Ulwar, were Moonshi Sheo Narain, Secretary, Agra Munici¬ pality. W. Cole, Esq., C.E. Mir Tajamal Hossein, P.W.D., Jeypore. 2. Textiles. Dr. Newman, I.M.S. Babu T. W. Mookerjee. Dr. Kunny Loll Dey, Rai Bahadur. J. Griffiths, Esq., Principal, School of Art, Bombay. J. P. Watson, Esq. J. L. Kipling, Esq., Principal, School of Art, Lahore. Moonshi Sheo Narain. Babu Opendro Nath Sen. Moonshi Jowala Sahai. And a Committee of Ladies 3. Art Manufactures Generally. J. Griffiths, Esq. J. P. Watson, Esq. David Ross, Esq., C.I.E. B. B. Blood, Esq., C.E. W. R. S. Jones, Esq., C.E. Dr. Kunny Loll Dey, Rai Bahadur, Chemical Examiner to the Government of Bengal. Babu T. N. Mookerjee, Special Assistant for Ex¬ hibitions, Department Revenue, Agriculture, and Commerce. S. J. Tellery, Esq. Dr. Newman. E. Wimbridge, Esq. J. L. Kipling, Esq. 1 Plates CXCVII. and CXCVIII. Vol. IIT. * Plate CXCIX. Vol. III. VI 11 INTRODUCTION. displayed near the centre of the room, while the rare articles to be sold were distributed in the vacant spaces at the sides. A large orchestrion was played occasionally, and afforded much pleasure to the poorer visitors, who, indeed, seemed to consider it, and the jewels and silver table of the Maharaja of Ulwar, the most prominent attractions. In a long gallery on the ground floor of the palace the coarser textiles, shoes and leather work, arms and armour, damascening, lacquer on wood, furniture, specimens of calligraphy, native painting, peasant jewellery, and miscellaneous objects were displayed. Three rooms on the ground floor were filled with Kashmir papier machd and rugs; Burmese gongs and lacquer; Jeypore stone carvings; models of fruit made at Lucknow, by order of the Department of Agriculture of the North-West Provinces and Oudh; porcelain and engraved brass from the School of Art at Jeypore; Ispahan pierced brass; unglazed pottery; Hoshiarpur work ; and a most valuable modern educational collection, made by Mr. Cameron, of Edinburgh, and contributed through Mr. D. Ross, C.I.E., of Lahore, who also sent a similar loan from his own collections, besides other interesting objects. To these must be added a number of casts of the most important of the Indo- Bactrian sculptures of the Lahore Museum, and many rare manuscripts and miniatures from Tonk, Ulwar, Jeypore, and other royal libraries. The raw produce collections were arranged in the whole of the upper story of the palace, and the verandahs were crowded with models and bulky textiles. The total cost of the Exhibition, exclusive of building and cases, was about 33,000 rs. The business arrangements were conducted by an Executive Committee, of which the author was Chairman, and Kiinwar Prithi Singh, the son of a leading Jevpore noble, the Oriental Secretary. The building was completed by Major Jacob, R.A., the Executive Engineer of the Jeypore State. The names of the members of the Executive Committee, as well as of the General Committee, are given in a foot note. 1 1 The Committee was constituted as follows :— Chairman— Major Prideaux, Resident. Members of Council. Thakur Gobind Singh, of Chomu. ,, Sawunt Singh, of Bugru. ,, Pertab Singh, of Diggi. „ Samunder Karun, of Kurnota Nutwara. „ Shumbhu Singh, of Gonair. Parohit Ram Pershad (since deceased). Babu Kanti Chunder Mookerjee. Mir Kurban Ali. Babu Jodoo Nath Sen. Museum Committee. * Major S. S. Jacob. * Kunwar Prithi Singh, of Bugru. Babu Sunsar Chunder Sen. * Babu Jodoonath Dey. * Surgeon-Major T. H. Hendley, Hon. Secretary. Extra Members. Captain Talbot. * Babu Mohendro Nath Sen. „ Opendro Nath Sen. * Mir Tajamul Hussein. * Dewan Moti Lai. * Hajee Mahomed Ali Khan. * Thakur Nund Kishore Singh. Mr. Cole and Mr. Tellery joined subsequently. (The names of the members of the Executive Committee are marked with an asterisk). INTRODUCTION. IX H.H. the Maharaja of Jeypore, and Col. Walter, Officiating Agent to the Governor-General in Rajputana, acted as patrons, and Col. Bradford, C.S.I., on his return to resume his appointment as Agent to the Governor-General, opened the Exhibition. The author, who also acted as Honorary Secretary to the General Com¬ mittee, superintended the work, and before his departure from Jeypore had despatched nearly the whole of the sold and unsold exhibits to their owners, together with the prize certificates and bills. Mr. Tellery kindly conducted the correspondence after his departure, and rendered prominent assistance throughout the undertaking. In submitting his first estimate of expenditure on the Exhibition, the author of these volumes included a sum to be spent in taking photographs, and intended to collect information as a basis for a work on the Raw Produce and Manufactures of Jeypore. He felt that the Museum and Exhibition could only be looked upon as affording a complete groundwork for writing such a book, and that the collections would have to be thoroughly studied, and an exhaustive inquiry into statistics and other matters instituted, before his ideas could be carried out, even imperfectly. He was, however, about to make a beginning, when the whole project took a new form, owing to his receipt of a letter from Mr. E. C. Buck, Secretary to the Government of India in the Department of Revenue, Agriculture, and Commerce. Mr. Buck wrote that it was proposed to bring out an Art Journal, which would be sent to all museums abroad, and requested that photographs and drawings sufficient for a number might be furnished. He also asked the author to write a letterpress description to accompany the published set included in the proposed contribution. It was suggested that it would be desirable to distribute complete sets of all drawings and photographs taken at the Exhibition to the principal museums abroad. H.H. the Maharaja of Jeypore liberally permitted the use of the illustrations for the number of the Journal, which, with part of the text, have been included in the present work, as its limited distribution cannot interfere with the sale of the serial publication. 1 He also sanctioned the preparation of a work on the Exhibition, and has defrayed the whole of the expenses connected with its publication, and, moreover, proposes to present complete sets of it to the great public museums. As far as possible the author has endeavoured to illustrate his work, which he has entitled 4 Memorials of the Jeypore Exhibition of 1883,'with Indian subjects only. The covers were designed by an Ulwar artist, formerly employed at the Delhi Court, who has taken prizes at most Indian Exhibitions. Honorary Secretary— Surgeon-Major Hendley.* Oriental Secretary —Kunwar Prithi Singh. Chief Clerk —Pandit Braj Balabh. The following gentlemen kindly assisted in arranging * Also Chairman Executive Committee. the exhibits :—The Rev. J. Traill, the Rev. G. Macalister, Babus Jogendro Nath Sen and Balmokund, and Messrs. Williams, H. Harris, and H. T. Harris. 1 The Journal of Indian Art , price i r. Edited bv Mr. Kipling, Principal of the School of Art, Lahore. Pub¬ lished by W. Griggs, Peckham, London. To be obtained also from Mr. B. Quaritch, Piccadilly, London. X INTRODUCTION. The title-pages and coloured margins of all the pages are also examples of his skill, and are bookbinding patterns. The initial letters are taken from the platinotypes in the fourth volume of the work. The drawings from which most of the chromolithographs are copied were made by young natives of India, trained in the School of Art or in the offices of the Executive Engineer at Jeypore. The original photographs were taken by Corporals Stroud and Futcher, R.E., from the School of Photography at Rurki, by kind per¬ mission of the Commandant of the Sappers and Miners at that station. They have been reproduced in platinum, and are in consequence absolutely permanent. Richness of tone and some of the details have been undoubtedly sacrificed, but it is hoped that they are sufficiently clear to serve as patterns. The volumes appropriately open with an autotype portrait of El.H. Siwai Madho Singh, Maharaja of Jeypore, who is usually reckoned to be the thirty-fifth prince of his house, which was founded near the present capital in the eleventh century by Dola Rai, the one hundred and fourth descendant of Lawa, the second son of Rama-Chandra, King of Ajudhya (Oude), the hero of the Ramayana, and the reputed incarnation of Vishnu, the second member of the Hindu Trinity. H.H. the Maharaja is now twenty-three years old, and succeeded Maharaja Siwai Ram Singh II., by whom he was adopted, on his death bed, in the year 1880. He was descended from the same chief of Jeypore as the late prince, and is a Kachwaha Rajput. The Jeypore family has always occupied a high position amongst the princes of India, and its great chiefs, Maharajas Man Singh, Jey Singh I., and Siwai Jey Singh, the founder of Jeypore, took prominent part in the history of the country during the reigns of the four principal emperors of Delhi. Portraits of two of these famous sovereigns, Shah Jehanand Aurangzeb, form the frontispiece of the second volume. The third volume concludes with a view of the palace and lake of Amber, the beautiful old capital of Jeypore. It only remains to state that the thanks of the author are due to all those who have assisted him in his work, which is intended to serve only as a guide to the illus¬ trations, and has been written while on leave in England, and therefore at a distance from many sources of information. This difficulty has, however, been greatly lessened by the kindness of Dr. Stratton, Resident at Jeypore ; of Surgeon Owen, C.I.E., and of Major Jacob and of Mr. Teller'y, all of Jeypore. THOMAS HOLBEIN HENDLEY, Chairman, Executive Committee of the Jeypore Exhibition. Vn INDUSTRIAL ART AT THE JEYPORE EXHIBITION. r* CHAPTER /. ARMOUR. R. KIPLING, Principal of the Government School of Art at Lahore, who wrote the report on the Indian arms and armour displayed at Jeypore, remarked that ‘ it was doubtful whether a more choice or interesting collec¬ tion of Indian arms had ever been assembled in India than that shown at the Jeypore Exhibition.’ He added that he hoped ‘that some memento of the collection might be preserved by photographs showing the elabo¬ rate chiselling, enamelling, damascening, &c., which have been lavished on these beautiful objects ’ The present work contains illustrations of all the most valuable weapons and armour shown at the Exhibition. For a history and full account of the important subject under consideration reference should be made to the valuable handbook of the Hon. W. Egerton, which includes a classified and descriptive catalogue of the arms preserved in the Indian section of the South Kensington Museum, in London. In the present work as complete a description as possible will be given of the illustrations, with the addition of such general remarks as may appear necessary. Rajputana, Rajasthan, or the land of the Rajputs, the sons of kings, should produce, and does produce, everything necessary for carrying on the art of war. Sirohi, the small State in which is situated Mount Abu, the Mons Capitalium of Pliny, has been famed since the days of Herodotus for its sword blades, and at the Jeypore Exhibition it retained its ancient reputation by carrying off the first prize for arms. This small State of the Deora Rajputs supplies blades and spear points to all Rajputana, but every court employs its own armourers, some of whom have attained fame beyond their homes. In Rajputana are found weapons of every age and country, from those which the aboriginal tribes of Bhfls and Meenas have used since the earliest days down to the newest breech-loading rifle. There is nothing the warlike Rajput more desires than a trusty or valuable weapon, hence nothing for which he will pay a higher price. With so keen a demand it is therefore natural that the best arms of all countries should find their way into the collections of the native princes and nobles. We shall see that at Jeypore were shown Persian, Afghan, and even European swords and daggers mounted in Indian damascened hilts ; examples of most of the weapons in the list given in the Ain-i-Akbari, or Institutes of the Emperor Akbar, obtained in the days of the Moghul ascendency, when Delhi set the fashions ; Maharatta arms, introduced when that warlike people overran Rajputana ; English guns and pistols, presented by the East India Company, and curious specimens made by the native armourers to surprise and please their patrons on their birthday festivals or on other great occasions. VOL. i. B 2 INDUSTRIAL ART AT THE JEYPORE EXHIBITION. Some arms have been acquired by purchase, others by gift from inferiors ( mazardna ), presents from superiors ( khillats ), or by conquest. Every endeavour has been made to obtain the history of the different weapons, but the results of the inquiry have not been very successful. The records of the different armouries at the most show when an arm came under the charge of the custodian, but the maker’s name is rarely recorded. The most complete collections at the Exhibition came from the Maharajas of Jeypore, Oodeypore, Ulwar, and Dholpore, and the Nawab of Tonk. The Jeypore armoury contains a wonderful assortment of swords, guns, and daggers, which are beautifully kept. The collection at Ulwar is well known, and is remarkable for the beauty and richness of decoration of the weapons. The same remarks apply to Oodeypore and to Jodhpore. At the latter capital much pride is taken in the armoury, which is very extensive. The Dholpore arms sent to Jeypore were interesting from their great variety and quaintness of form. The Tonk armoury is very complete ; every weapon has a label giving its name and history, and all are in splendid order. As far as possible the descriptions will follow the order of the photographs , 1 in which in many cases the size is indicated by a six-inch rule placed in the foreground with the shields. A beginning will be made o o SHIELDS. PLATE I. I. Parrying shield, Maru, consisting of a pair of black buck or antelope horns united at the butt ends, where they are protected by a steel guard in the form of a shield, which is studded with four raised bosses—five rosettes and eight crescents —all gilt. The end of each horn is armed with a steel bayonet point. The horns are arranged as if on an animal’s head, and measure nineteen inches from the tip of each horn to the centre of the guard. 2. Parrying shield similar to Plate I., I, but with the points opposite to each other. Both weapons were made by Pani Khan, at Jeypore, and were valued at 4 rs. each. PLATE II. Shield, Dhdl. Steel, with ornament inlaid with gold wire (true damascening). The four bosses are raised from cup-shaped depressions. (H.H. the Maharaj Rana of Dholpore.) PLATE III. Shield, Dhdl. Brown varnished leather, with painted floral pattern in gold. There are four white metal bosses with perforate 1 margins. Border recurved. Made at Jeypore by Pani Khan. Value 2 rs. 8 as. PLATE IV. 1. Shield, Dhdl. Black leather, with five raised gilt bosses. To the central one a lance can be screwed. (Lent by H.H. the Nawab of Tonk.) 2. Shield (,Sylliet japdni). Japanned leather. Circula- and convex. Ground black adorned with yellow scrolls of flowers and four hemispherical bosses of silver. Parcel gilt and bevelled. Made of raw elk or bison hide at Sylhet, in Assam. (Lent by H.H. the Maharana of Oodeypore.) 3. Shield (Sylhet). Black polished leather, with four gold-enamelled bosses and a crescent, all studded with diamonds. On the right side there is also a gold-enamelled side guard. (Lent by H.H. the Maharana of Oodeypore.) PLATE V. Shield, Dhdl. Nine inches in diameter. Steel, with raised indented border and four bosses. Damascened in gold with a rich arabesque pattern. (Lent by H.H. the Maharaja of Jhi'nd.) PLATE XXIII. Parrying shield, Man':. Steel, with two bayonet points. All damascened. (Dholpore Armoury.) The shield, or dhdl , is used by every Rajput not only in war but in peace. Presents from a superior to his vassal or from the latter to his lord should be laid out upon it, though too often the tray, or ‘ khistil of lacquered wood is substituted in the present day. It is borne by peons or by dhalaits , the messengers of princes, as a symbol of office ; in such cases the shield is small, and in ) Jeypore square pieces of red cloth are placed beneath the bosses. The shield in general use is of buffalo leather or rhinoceros hide, but there is a large manufacture of cheap papier-mache shields, especially at Uniara, where the surfaces are gaily painted with figures and sporting scenes. The Persian and Sikh shields were frequently made of steel, beautifully dama- k* scened with gold wire. One of the shields of the Maharana of Oodeypore, lent to the Exhibition, was formed of a piece of almost transparent rhinoceros hide and was adorned with bosses set with diamonds. 1 A separate list will be given of the Contents of Volume.I. Unless otherwise stated, the numbers of the plates refer to Volumes II. and III. ARMOUR. Heraldic distinctions do not appear to have been painted on the shields of Hindus. In the descriptions of the warriors of the Mahabharata, or Great War, these seem reserved for the banners attached to their war cars. It is stated, however, that shields were adorned with suns, moons, and stars, and it will be noticed in the fourth volume of this work that nearly all the shields in the illustrations are ornamented in this or some other way, but it must be recollected that these drawings are by Persian artists. A few square shields are delineated in these paintings. Beautiful painted and enamelled shields are made at Ahmedabad from the skin of the nilgao, or white-footed ante¬ lope (.Antilope picta). The best specimens have the tuft of hair on the front of the animal left at or near the centre of the shield. They can only be obtained to order. Shields are not now made at Jeypore, as there has been over-production. There is some demand for them, as well as for arms, by tourists for decorative purposes. The shape of tne Rajput shield is invariably circular. The parrying shields are used by the Bhfls and aboriginal races, and small bucklers by sword-stick players. Padded cotton and silk shields are made chiefly for those who object to leather, as, for example, Brahmans and Baniyas of warlike instincts. QUOITS. PLATE V. 2. Quoit, Chakkar. Steel, damas¬ cened in gold, 11 in. diameter, rim 1^ in. wide, edge sharp. (Lent by H.H. the Maharaja of Jhrnd.) The quoit was the special weapon of Vishnu and of his incarnation, Krishna. The city of Dwarika is fabled to have been built on the Sudarsana discus by Viswakarma, the architect and smith of the gods ; with it Krishna slew most of his enemies. The quoit was the national weapon of the Sikhs, particularly of the Akalis, a sect founded by Guru Govind. The quoits are worn on a conical turban, or round the arms, and are thrown with fatal pre¬ cision. ARMOUR COATS, &c. Plate VI. Padded coat and cap of crocodile hide, value 25 rs. (Contributed by Kunwar Narayan Singh, Rah tore, Jeypore.) PLATE VII. Long coat of chain armour, Zirah , Chitta. Composed of small flat interlacing steel links. Each link has its ends riveted together. (Lent by H.H. the Nawab of Tonk.) PLATE VIII. Long coat of chain armour made of very fine steel and brass links. The dark links are arranged to form a lozenge pattern. There are also lozenge-shaped openings at regular intervals. The collar is quilted. (Lent by H.H. the Nawab of Tonk.) Plate IX. 1. Blue velvet coat padded with raw silk with diaper pattern of gilt nails and bosses. 2. Helmet, with steel side pieces and central rib united by chain links, nasal, and porte-aigrette with plume of blue threads, chain coif. (Rawal Bijai Singh, of Samode, Kachwaha, Jeypore.) According to Colonel Lane Fox the earliest forms of armour were made of the scales of animals or reptiles, such as the pangolin and the crocodile. Coats of mail are not often worn now, but on state occasions are sometimes seen. The retainers of the Raja of Uniara, one of the Jeypore nobles, are usually conspicuous for wearing coats of chain mail at processions in the capital. The padded dresses ornamented with gilt nails are still made at or near Indore, but this mode of decoration, called ‘ Jazerant ’ work, is chiefly applied in the present day to saddles and horse trappings. Examples were shown at the Exhibition (Plate IX. Vol. II. and Chromolithograph XII. Vol. I.). There were also specimens of scale and chain armour, but the most interesting were coats of chain armour alone, such as are shown in Plates VII. and VIII. In some cases the links are rudely shaped like a fish with its tail in its mouth, or are inscribed with names. The padded coats were further protected by four cuirass pieces of steel, designated the char aind, or four mirrors, which were often b 2 4 INDUSTRIAL ART AT THE JEYPORE EXHIBITION. richly damascened and engraved. A very handsome specimen, a breastplate, is illustrated in colour in Vol. I. (Chromolithograph XIII.). A grand coat of Jazerant work is also given (Chromolithograph XII. Vol. I.). Plate X. Portions of a set of plate armour with helmet. Margins beautifully damascened in gold ; raised arabesque ornament on the ground. The four pieces which form the cuirass are known as char aina , or the four mirrors. i. Breastplate of cuirass. 2 and 4. Arm guards with open silk gauntlets, the pattern in gold pins, lined with silk embroidered with sprigs in silk and gold thread. 3. Helmet with sliding nasal, two porte-aigrettes, and bayonet spike. Fine steel chain coif with pattern in brass links. 5. Side plate of cuirass with sambar skin straps. (Lent by H.H. the Maharaja of Jeypore.) Plate XI. Portions of a set of plate armour (see Plate X.) Pattern damascened in gold wire. 1. Side piece of cuirass. 2 and 4. Arm guards with chain gauntlets. 3. Helmet with sliding nasal, two porte-aigrettes, and plume or flag-holder. 5. Breast piece of cuirass. (Lent by H.H. the Maharaja of Jeypore.) Sometimes the cuirass is formed of six pieces, especially in Persian armour. MATCHLOCK ACCOUTREMENTS. PLATE XII. Matchlock accoutrements. 1. A sambar (large deer, Rusa Aristotelis) skin belt, on which slide five leather bags embroidered in silk and gold. They are intended for bullets, powder, and so on. 2. A pair of powder flasks, steel, and slow match. One of the horns is made of brass ; the other is an antelope’s horn, with plain bone top and steel mounts. Rajak-dani. (Lent by Thakur Futeh Singh, Rahtore, J eypore.) Plate XIII. 4. Small conical powder horn of carved light jade, engraved brass mounts, the lower fish-shaped. 5. Powder flask made of the shell of the pearly nautilus, mounted in open floral work in gilt brass. (Lent by Thakur Govind Singh, Kachwaha, premier noble of Jeypore.) The powder flask is usually much ornamented. Some shown under the head ‘ Ivory Carvings ’ are richly worked and of large size. They are of the old pattern without a spring. The Rajputs generally wear a very wide sambar skin belt round the waist, and ever this again the narrow band to which the accoutrement bags are attached. In wet weather they are of course most careful to keep their powder and weapons dry, and to effect this they cover their matchlocks and persons with cloths of fine, almost waterproof, felt, a material for which Malpura, about forty miles from Jeypore, has almost a monopoly in India. To the cape, or gugi, is attached a hood which covers the head. BOWS AND ARROWS. Plate XIV. 1. An unstrung composite bow, Kamdn , made of pieces of horn united by gut, lacquered and painted with a floral pattern. When strung the shape is that of Cupid’s bow, with a double curve. 2. Sheaf of arrows, Tir , with flat perforated points and ivory mounts. 3. Sheaf of arrows with crescentic blades. 4. Sheaf of arrows with plain flat points. 5. Leather quiver, Tarkash, and belt with small arrows used as toys, or for killing or rousing game birds. A few are shown at the lower part of the plate. (Lent by H.H. the Maharaja of Jeypore.) PLATE XV. 3. A collection of arrows with variously shaped points, suitable for firing from the bow of N o. 4. 4. A muzzle-loading percussion cap gun, to which is attached a steel crossbow. Made for Nawab Ghias Mahomed Khan, of Jawara, by Ahmed Buksh, of Jhajhar. (Lent by Sirdar Obed-ulla Khan, C.S.I., Prime Minister of Tonk.)' The bow was the principal offensive weapon of the early Hindus. Nearly all the important single combats in the great war were decided with this weapon. Consecrated arrows capable of destroying whole armies by fire or water, others which produced serpents, and many of strange shape were used, it is said, by the heroes. Great attention w r as paid to the feathers, some of which ARMOUR. o were taken from the peacock and vulture. With an arrow having - a crescentic blade Arjuna killed many of his foes. The arrows of this doughty warrior worked wonders. On several occa¬ sions he produced fountains of water, and to this day the Banganga or Utangan River is fabled to have originated in one of them. Bows are still carried by the royal huntsmen in Rajputana, but, with the exception of the aboriginal tribes, are now used by few* others. The long bow of the Bhil is made from the bamboo ; even the string is of bamboo, except the ends, which are of gut. The arrows are reeds tipped with rough iron points. The reed arrows of the country of the Saruae, mentioned in Herodotus, are supposed to have come from Sirohi, the country of the Meenas, which adjoins the land of the Bhils. The golatl, or pellet bow, from which balls of dried clay can be propelled with considerable accuracy and force, is only used for scaring birds from fruit gardens. The Rajput bows are kept in the form shown in the illustration ; they are fitted for use by heat. PISTOLS , GUNS , &c. Plate XXXV. I. Flint-lock pistol, made by W. Parker, London. 2. Turkish pistol. (Lent by H.H. the Nawab of Tonk.) The above are interesting as examples of the manner in which arms of all countries find their way into Indian armouries. No. i was probably a present from the East India Company, who, on every event of importance, such as a succession, gave handsome gifts of novelties to the native princes. No. 2 was probably presented by an Afghan horse dealer or a courtier. In most cases arms are enriched by damascening or engraving after they reach the native courts, though of late years the Rajput has begun to appreciate the merits of simplicity in this respect. Plate XXXVI. 7. A large rifled flint-lock duck gun. Mortimer, London. Presented by Hindu Rao Sindhia to Nawab Amir Khan, who often used it. (Lent by H.H. the Nawab of Tonk.) Plate XXXVII. Long flint-lock {DU platkdr , or heart-breaker, so named from the execu¬ tion it caused). Barrel steel, covered with a raised pattern; the muzzle and breech pieces damascened ; stock, wood. This weapon is of historic interest, having been much used by Nawab Amir Khan, the founder of the Tonk family. Made at Haidarabad, Sind. (Lent by H.H. the Nawab of Tonk.) Plate XXXVIII. 4. Match-lock gun. Plain steel barrel, black wood stock, inlaid with ivory. (Lent by H.H. the Maharaja of Jeypore.) Plate XL. 1. Match-lock gun with silver side plates to the breech. 2. Match-lock gun with Afghan butt. (Lent by Thakur Govind Singh, of Chomu, Jeypore.) PLATE XLI. 3. Match-lock gun with bone breech, 5 ft. 2 in. long, damascened plates, and barrel ter¬ minating in a gilded crocodile mouth. Stock, wood painted red. Butt ornamented with figures of animals. (Lent by H.H. the Maharaja of Karauli.) 8. Match-lock gun with two chambers in the same barrel, and locks one above the other, so that the lower is fired after the upper. Butt, ivory inlaid ; mounts damascened. MadeatBundi. (Lent by H.H. the Nawab of Tonk.) Plate XLVI. 4. Gunstick. Steel. Made at Jeypore. Some very curious guns were sent to the Exhibition, amongst them one of great length with four chambers at the breech arranged on the revolver principle. There were others intended to carry large balls, to be fired from the backs of camels ( jazails ). The Afghan matchlocks are very long and are frequently discharged from a rest. In most cases the barrels are beautifully watered. In a picture of a battle fought in the last century, in the Jeypore library, several machine guns are represented. In the Ain-i-Akbari (Ain 36) Abul Fazl says that the emperor joined seventeen guns in such a manner as to be able to fire them with one match. A few examples of pistols concealed in walking-sticks and spears were exhibited, with a rifle and revolver made in the State workshop at Jhallawar. 6 INDUSTRIAL ART AT THE JEYPORE EXHIBITION BATTLE AXES AND MACES. Plate XVI. I. Steel battle axe, Tabar, da¬ mascened in gold. The head is massive, the blade broad at the edge and strong. (Karaulf Armoury.) 2. A huge pole axe, Karsa bara. Hilt small, plain bone. Shaft massive steel, 2 ft. I Itt in. long. The blade, io|in. long, is double-curved and supported by a pierced broad bar and two semicircular side pieces. It is probably an aboriginal weapon. (Dholpore Armoury.) 4. Crow bill, Kulang chota, properly a crane bill. Shaft composed of two side wooden pieces pinned, by rose-headed steel bolts, to the central steel bar, which is continuous with the head. The head and top are damascened in gold. The blade is flat and placed at right angles to the handle. It is grooved and in¬ curved like a kyjar , which Col. Lane Fox considers a development of the cow-horn form of dagger. The pommel is divided into two cusps to embrace the blade. 5. Large crow or crane bill, Kulang bara. Heavy damascened head ; steel shaft with wooden side pieces ; blade, four-sided, incurved, massive, tapering to a point. Suitable for smashing in plate armour. 6. Battle mace, Ghausa. Shaft of steel covered with a diaper floral pattern in silver wire ; head, metal, like a fir cone, from the centre of which springs a flat blade of similar shape. (Dholpore Armoury.) PLATE XVII. 3. Steel mace, Garz, with heavy globular head. The handle is padded and covered with cloth threaded with wire to give a firm giip. Used by H.H. Nawab Wazir-u-daula of Tonk. (Tonk Armoury.) PLATE XVIII. 1. Battle axe, Tabar. Iron shaft and head in one piece. Silver-plated, with incised pattern. 2. Bairagi’s crutch. Iron, silver plated, with con¬ cealed dagger in the shaft. It is something like a Zafar-i-takiya, or pillow sword, upon which the owner can lean when seated. (Thakur Futeh Singh, jey pore.) PLATE XIX. 4. Battle axe with double-edged flat blade springing in a line with it from the expanded end of the shaft, which is formed like the head of an elephant. The lower part of the blade is richly damascened with a charming floral pattern in silver and gold. The shaft, of gilt m-Cal, is covered with engraved and chased floral ornyfnent. 5. Battle axe similar tc^No. 4. The blade is plainer and damascened in silver. The elephant’s eyes are rubies, and there are\ emeralds in the fore¬ head. 6. Sheath of No. 5. Gold\with bold repousse floral ornament (Kutch work). 7. Battle axe, Pliarsa-ankasi. IHead steel, shaped like an elephant goad. The staff\s of dark wood and the handle of steel. The blade, edges, head, and handle are damascened in silver. (Jeypore Armoury.) Plate XX. 1. Battle axe, Tabar. Steel, with round shaft ; hammer head surmounted by a long spike, and a flat triangular head springing from the head by a narrow neck. A long stiletto fits into the shaft. 2. Battle axe, Pharsa-ankasi. Shaped like an elephant goad ; head steel ; shaft, two w r ooden side pieces united to the metal central bar by rose-headed bolts. 4. Crow or crane bill, Kulang. Shaft wood; handle and head steel damascened in silver. 5. Flint-lock pistol, with a broad axe-blade springing from the centre of the barrel. It is pierced into the form of two lions. Taniansha-shahl- pharsa. (Dholpore Armoury.) PLATE XXIII. 6. Battle axe, Tabar. Shaft wood ; blade flat, broad, with a convex edge. (Rawal Bijai Singh, Jeypore.) Plate XXV. 1. Battle axe, Gandusa or Tabar. Blade, a straight knife edge supported from a spiked hammer head by two curved pieces. The handle is of steel with two central side pieces of wood fastened to it by quatrefoil-headed bolts. 2. Sheath of No. 3. Wood with steel mounts. 3. Bairagi’s crutch, with long stiletto point. 4. Battle axe, Tabar. All steel ; blade like an adze, edges damascened in gold. 6. Mace or axe, Garz Kamrakhi. The head has nine large flat curved blades, the whole shaped like the Kamrakh fruit ( Averrhoa carambola). Padded basket handle with knuckle guard. Shaft and side pieces richly damascened. 7. Steel mace, with padded handle and pyriform head. Used by Nawab Wazir-u-daula. 8 . Crow’s bill, Zdgh- 7 iol. Curved flat dagger- (katar) like blade with central rib and pierced haft ; hammer head ; shaft-centre wood, the rest steel. Made at Delhi for Nawab Wazfr u-daula. 9. Battle axe, Tabar. Adze-like blade ; shaft, wood side pieces and silver-headed bolts. (Tonk Armoury.) PLATE XXVI. 8. Battle axe. Hammer head ; blade, flat, steel inlaid with gold wire. Shaft, wood. Made at the School of Art, Jeypore. PLATE XXXIV. 1. Battle axe with pistol, Dastar daraz. Blade, broad, curved, double-edged, rising from the gilt elephant-headed top of a round steel shaft. The shaft is inlaid with gold stars and is crowned with a gold flower. The blade is engraved at the base. A flint-lock pistol is attached to the back of the blade. 2. Sheath of No. 1, covered with purple velvet. Tip mount plain gold. (Oodeypore Armoury.) ARMOUR. 7 The bulk of the collection of battle axes and maces came from Tonk and Dholpore. It will be observed that there are not two quite alike and that most of them are ornamented, the large surfaces affording much space for decoration. I hese weapons are now almost obsolete even in India as arms of offence, but some are used for sacrificial purposes, for which, however, the sword is more commonly employed. The use of armour necessitated the employment of such axes as the crow or crane bill. The mace or globular-headed axe was the weapon of the strong. Bhima, the embodiment of manly vigour and the most powerful of the heroes of the Mahabharata, is always represented as fighting with the mace. He won his greatest victory by unfair play with this weapon—that is, by striking his enemy Duryoclhana below the waist. DAGGERS , KNIVES, &c. Plate XIII. i. Sheath of No. 2, covered with red velvet; mounts silver. 2. Triple knife, Chhuri. Three knives fitting into each other. The handle of the first is of bone, of the second silver, and the third or smallest also of bone. (Thakur Govind Singh, of Chomu.) Plate XVII. 1. Scabbard of No. 2. Brass, with silver-enamelled mounts ; birds ana foliage in blue and green. 2. Long straight Khyber knife, or Chhurd. The blade tapers to a narrow point, and the handle is formed of two broad pieces' of ebony pinned to the central plate of metal, which is continuous with the blade. (Ulwar Armoury.) Plate XVIII. 1. Sheath of No. 2, covered with red velvet ; engraved gilt mounts. 2. Dagger, Peshkabz. Blade plain steel ; hilt pistol-shaped, of dark green jade set with turquoises, emeralds, and rubies on a gold background. 5. Dagger, Peshkabz or Kyjdr. Blade curved like a cow’s horn, watered and damascened near the haft ; hilt pistol-shaped, with side pieces of fish bone or ‘ sirmayi,’ probably walrus ivory. 6. Sheath of No. 5, covered with light green velvet; mounts gilt. (Thakur Futeh Singh, Jeyporc.) Plate XIX. 1. Sheath of No. 2, covered with dark red velvet; mounts gold. 2. Dagger, Peshkabz. Blade straight, point sharp ; hilt of ivory carved into a tiger’s head ; coloured red with gold spots. 3. Dagger, Khanjar. Blade’ grooved, nbbed ; pistol-shaped bone handle, terminating below in leaves, which embrace the blade, and expanding above into a bunch of leaves with a central composite flower and buds. 8. Dagger, Peshkabz. Handle light jade carved into a sunflower bud and leaves. 9. Sheath of No. 8, covered with bright red velvet; jade mount and tip. (Jeypore Armoury.) Plate XXII. 1. Small steel knife, Chhuri, with damascened handle. 3. Dagger with long incurved blade, Khanjar. There is a strong central rib ; the haft side pieces are damascened ; hilt, stone, pistol-shaped, terminating in a horse’s head. 4. Sheath of No. 3, covered with red velvet. 5. Clasp knife, Chhuri or Chaku. Handle damascened in gold. 6. Dagger, Chhuri, with conical probe point. An open channel crossed by bars runs down the centre of the blade, in which small pearls are placed so as to move when the weapon is shaken. The handle is cylindrical, of fish bone or walrus ivory. 7. Sheath of No. 6, covered with velvet. Mounts gold. (Ulwar Armoury.) 8 . Dagger, Khanjar. Hilt pistol-shaped ; dark carnelian, set with three emeralds, two arranged as eyes. There is a band of gold enamel at the base of the blade. 9. Sheath of No. 8, covered with blue velvet; mounts gold enamel. The dagger—No. 8—be¬ longed to the famous regent of Kotah, Zalim Singh, the founder of the Jhallawar house. (Jhallawar Armour}’.) Plate XXIII. 3. Knife, Chhuri. Plandle of green jade, pistol-shaped, terminating in a ram’s head. 4. Sheath of No. 3, covered with violet velvet; mounts brass. (Dholpore Armoury.) PLATE XXIV. 2. Dagger, Peshkabz. Blade watered ; hilt, pistol-shaped, carved into the form of a horse’s head from a singularly clear and beautiful piece of crystal. 3. Sheath of No. 2, covered with green velvet ; mounts, pierced open work in gold. 4. Dagger, Peshkabz. Hilt of a crystalline, blue-veined marble ; blade watered. 5. Sheath of No. 4. Mounts steel, damascened in gold. (Thakur Govind Singh, of Chomu.) PLATE XXVI. 1. Dagger, Peshkabz. Hilt ivory, carved into the form of a lion’s head ; sheath covered with brocade, ‘ kam-khwab ’ or ‘ kin-khwab ; ’ mounts pierced ivory. 2. Dagger, Peshkabz. Blade watered ; handle bone, painted, ending in a ram’s head, the eyes of which are rubies ; sheath covered with red velvet ; mounts gilt. 8 INDUSTRIAL ART AT THE JEYPORE EXHIBITION. Dagger, Peshkabz. Hilt walrus ivory, end- a. lion’s head. 5. Sheath of No. 4, covered with red velvet; mounts gilt. (Jeypore Armoury.) PLATE XXXII. 1. Knife with a peculiar curve, BJnijali or Kukri. Hilt carved ivory ; blade watered. The Nepalese national weapon. 4. Knife, Chln'iri. Hilt carved ivory, set with turquoises. 5. Sheath of No. 4. (Tonk Armoury.) PLATE XXX. 2. Dagger, Peshkabz. Pistol¬ shaped, crystal hilt, engraved. 3. Sheath, covered with green velvet; mounts open work gold. 4. Dagger with pistol hilt, Peshkabz . Ornamented with rubies set like scales, and with emeralds on the back and borders. 5. Sheath of No. 4. Scabbard covered with green velvet ; engraved gold mounts (Thakur Futeh Singh, of Jeypore.) Plate XXXV. 2. Dagger, ChJriird. Hilt carved into an elephant’s head set with onyx eyes ; sheath covered with green velvets ; mounts plain gold. 5. Sheath of No. 6, covered with red velvet ; mounts perforated silver. 6 . A common English dinner knife, Chhuri, made by John Moreton and Co., Sheffield. The old handle has been replaced by one of ivory, exquisitely carved into the figure of a musician playing a sitdr, or guitar, seated on a morah , or lotus-shaped seat. 7. Dagger, Khanjar. Hilt jade, ending in a ram’s head with ruby eyes, and ornamented with two flowers and gold sprigs set with twenty-two rubies ; sheath covered with green velvet; mounts gold. (Oodeypore Armoury.) Plate XXXVI. 2. Kukri, or Nepalese knife (see Plate XXXII. 1.), accidentally photographed twice. 3. Dagger, Peshkabz. Blade long and narrow ; hilt bone. Made at Khorasan. 4. Dagger, Bank or Khanjar. Blade with a double curve ; handle walrus ivory, with lunette¬ shaped pommel ornamented with rose-headed metal pins, which fasten its two portions to the central plate ; knuckle guard steel. 8. Dagger, Bank, similar to No. 4. Used by Nawab Wazfr-u-daula. 9. Knife, Chhurd. Long, triangular, watered blade, with small bone handle. Made at Burn'r, in Afghanistan. (Tonk Armoury.) Plate XXXVII. 5. Large knife, Chhurd Blade watered, made at Terah, in Afghanistan ; hilt horn, made in Tonk. 6. Scabbard of No. 5. Black leather. It has a side compartment to hold— 7. A small knife, Chhuri, with an ivory handle. (Tonk Armoury.) Plate XXXIX. 4. Sheath of No. 5. Gilt metal, pierced and embossed. 5. Dagger, Khanjar. Handle of walrus ivory ; blade with two deep grooves and strong central rib. (Jeypore Armoury.) Plate XLII. 5. Long knife, Peshkabz. Handle steel damascened ; sheath covered with red velvet; mounts, steel, damascened. 6 and 7. Small Nepalese knife, Kukri, with a green stone handle ; sheath mounts metal. 8. Treble knife, Chhurd. Three knives fitting into each other. The two larger ones have bone handles, and from the top of the smallest two pen¬ knives open out. 10. A long knife, Chhurd. Hilt steel, damas¬ cened ; sheath covered with red velvet; mount and tip steel. (Oodeypore Armoury.) Plate XLII I. 2. Sheath of No. 3, covered with green velvet ; mounts heavy gold, perforated ; a long and heavy gold chain is attached to it. 3. Knife or dagger with very strong bayonet point, suitable for piercing chain armour ; hilt with ivory side pieces. (Thakur of Bagru, Jeypore.) Plate XLVIII. i. Large knife, Chlmra, with silver inlaid handle. 2. Scabbard of No. 1. All silver, with strong chains for suspension from the girdle. (Nawab Yasin Mahomed Khan, Indore. Value of 1 and 2, 52. rs.) The forms of Indian knives and daggers are almost endless. Some approach in character the primitive shapes of the horns of animals ( kyjars ) or of leaves of plants ; others are combinations of the knife and axe, as the kukri of Nepal ; some are akin to the Highlanders’ dirk, as the peshkabz, and all may be termed, if large, chhurd, if small, chhuri. The handle varies much in shape. A pistol hilt is common ; it often terminates in a carved flower or figure, such as the head of a horse. Perhaps the more usual hilt is composed of two side pieces hollowed out to afford a firm and comfortable grip for the hand. They are attached to a central shaft, which is continuous with the blade. Lbony, ivory, especially walrus ivory, jade, stone, crystal, and steel are used for the handles, and are often beautifully carved, damascened, and enriched with jewels. In the collection there are several double and triple knives, 1 in which one fits into another. A common English dinner-knife blade has in one instance been mounted in an exquisitely carved ivory handle to form a dagger. Plates XIII. 2 , XLII. 8. The scabbards or sheaths vary as much as the handles. The most interesting is one of wood covered with a thick plate of gold richly enamelled in Persia, probably in the last century. (Chromolithograph VII. Vol. I.) The bdnk, or Deccan dagger, has a curious lunette-shaped pommel, with a curved horn-like blade. Terah and Baner, in Afghanistan, have a great reputation for producing blades of good temper. With reference to old Indian blades it is worth mentioning that, prior to the invention by Huntsman, of Handsworth, near Sheffield, about ijjo, of an improved process of manufacture, the best steel was made by the Hindus and cost as much as 10,000/. a ton. Huntsman, however, produced equally good steel at from 100/ to 50/. per ton (‘ Creators of the Age of Steel,’ Jeans). radars, OR FLAT DAGGERS. Plate XIII. 3. Dagger, Katdr. Blade watered, thickened at the point. The long side guards are beautifully damascened with flowers and birds, and the two cross bars are separated by a pair of gilt fighting elephants. Made by Bhowam. (Thakur Govind Singh, of Chomu.) PLATE XX. 3. Large steel dagger, Katdr aus- dang. Blade long with deep grooves at the base. The massive side guards are united by three parallel cross bars, which serve as a handle. 6. Sheath of No. 3. Wood covered with yellow velvet. Plate XXI. 1. Dagger, Katdr , with long triangular blade marked with a strong central rib. There are two parallel handle bars, united by pierced flowers. These and the side guards are finely damas¬ cened in gold. The scabbard is of black leather with gold tip mount, and in front there is a small pocket, as is usually the case with katdrs. 2. Steel dagger, Katdr. 18^ in. long. On each side of the blade a hunting scene in relief is repre¬ sented. The designs are spirited, and the metal is highly polished. There are two handle bars united by pierced work. The guards and bars are embossed with flowers in gold. Made by Khema, armourer, at Bundi, in 1872. 3. Steel dagger, Katdr. Blade long, with three high ridges and numerous lateral ones. Gilt guards and double bars united by open work, the whole decorated with a floral pattern. On one side is an inscription in gold to the effect that the dagger was the property of Maharaja Ram Singh, of Bundi. Made by Khema, armourer. 4. An old dagger, Katdr, said to have been made about A.D. 1590, in the reign of Maharaja Bhoj, of Biindi. Blade flat and curved, watered, with a strong central and two lateral ribs; plain double¬ handle bars. 5. Sheath of No. 3, covered with red velvet. (Bundi Armoury.) Plate XXII. 2. Dagger, Katdr. Blade double. When the two parallel handle bars are pressed to¬ gether the sides of the outer blade open from the centre and reveal the inner blade. (Ulwar Armoury.) PLATE XXIII. 2. Two daggers in one, Katdr. The inner has a strong central rib. The edges, bars, and guards are damascened. (Thakur of Bagru, Jey- pore.) Plate XXVII. 1. Dagger, Katdr. Made of one piece of steel by Ranga, a noted armourer. There is a cone-like central rib running along the narrow blade. The guards and bars have a chamfered pattern. 3. Sheath of No. 1, covered with green velvet; tip gold. (Armoury of the Raja of Shahpurd.) Plate XXXIV. 8. Dagger, Katdr Burhanpuri. Blade with high ridges; bars and guards damas¬ cened. 9. Sheath of No. 8. Velvet, with mounts in pierced gold and silver. (Oodeypore Armoury.) Plate XXXVI. 10. Dagger, Katdr, with long blade, deeply grooved and strong central conical ridge. There are three parallel hand bars. (Tonk Armoury.) Plate XLII. i. Dagger, Katdr, made at Jaggat- garh, Assam (called also ‘ Raja Sahai ’). The side guards are ornamented with hunting scenes in gold, and the double cross bars with rayed suns in the same metal. (Oodeypore Armoury.) 11. Dagger, Katdr. The blade has a high central ridge. The side guards are bent. There is one strong gilt cross bar formed of two clasped hands. Sheath covered with green velvet and furnished with two side pockets. (Oodeypore Armoury.) Mr. Egerton considers that the sword and katdr are the natural arms of the Hindus. Every Rajput carries a katdr in his belt, and its peculiar shape fits it for being kept in the folds of his waistband and for immediate use in any position. It is adapted for thrusting, and makes a wide and dangerous wound, which is enlarged in the act of withdrawing the weapon, as both edges are very sharp. Some katdrs are made to open like scissors blades, others have small pistols attached to the side guards, and in a third variety the opened sides reveal a small point within. vol. 1. All these arrange- o ARMOUR. IO INDUSTRIAL ART AT THE JEYPORE EXHIBITION. ments are devised to make the wound more horrible, and as, in hand to hand conflicts with tigers or other large and savage animals, it is essential to produce a considerable effect at once on the beast, this quality of the katdr, which is often used in such sports, is very advantageous. The katdr is a dagger with a triangular, flat-pointed blade, which is thick towards the centre and sharpened on both edges. The handle is formed of one, two, or more parallel bars at right angles to the axis of the blade, and there are two long side guards, which prevent the hand from slipping and serve to protect it. The length of the blade varies considerably, and in some instances, especially in old examples, the axis is curved to one or other side. The blade is protected by a sheath of wood covered with leather or velvet. There is usually a pocket in front, d here is always a metal tip, and perhaps a mount. The weapon is fastened to the person by a band of sambar leather. The katdr affords large surfaces for decoration, even on the blade. This has been availed of for the representation of sporting subjects in a specimen from Bundi (Plate XXI. 2. Vol. II.). Most of the hand guards, and even the bars, are inlaid with designs in gold. In the Jeypore armoury there is a large collection of katdt's so ornamented. Like the sword hilts there are few if any duplicates. These flat blades are sometimes preserved in sheaths, whose surfaces are of gold or some other metal decorated with floral patterns in rcpotissd work made at Kutch and now largely applied to the ornamentation of plate. Almost all such decoration was originally confined in India to the enrichment of arms. SWORDS. PLATE XVI. 3. Long, straight, pointed sword, Saif. 3' 2". Padded handle with spiked pommel. (Karauli Armoury.) PLATE XVII. 4. Pillow sword, Zafar-i-takiya, or Cushion of Victory. Steel blade, curved, with edge on the convexity ; hilt inlaid with gold wire ; blade beautifully watered, inscribed with the name Haji Mahomed, its former owner. 5. Scabbard of No. 4. Black leather cut with em¬ bossed pattern, set with pieces of glass and foil. (Ulwar Armoury.) PLATE XXIII. 1. Hunting sword, Shikdrgah. Steel. Figures of animals, birds, and foliage in high relief on both sides of the blade ; hilt and knuckle guard steel. (Karauli Armoury.) PLATE XXIV. 1. Curved sword, Taiwan. Hilt inlaid in gold wire with scenes from the life of Krishna in medallions. Round the pommel disc is shown the dance of Krishna, the Indian Apollo, with the gopis or milkmaids (the Rds Mandald), and below are displayed the incarnations of the same hero. The gold scabbard mounts are pierced into figures and flowers ; the scabbard is covered with green velvet. (Thakur of Chomu.) PLATE XXV. 5 - Long knife or short sword, Kora, Dao. Edge convex, broad, and expanding towards the tip ; Indian sword hilt; all steel. A lotus in gold on a red ground is stamped near the point. This is a Nepalese weapon. (Tonk Armoury.) PLATE XXVI. 3. Curved sword, Taiwan. Raised floral pattern in gold wire on the hilt and knuckle guard, and scabbard-tip mount; marked with three dots on one side of the blade and two on the other. 6 and 7. Sword and scabbard, Saif. Blade long and narrow ; hilt plain steel ; scabbard covered with red velvet. (Jeypore Armoury.) PLATE XXVII. 2. Pillow sword, Zafar-i-takiya. Curved blade with six channels in the centre and two in the side for the reception of small gilt shot, which are let in from the top, as the parrot-shaped handle unscrews, A long point extends from the crutch five inches into the hilt, which is inlaid with gold wire. Made by Ranga 100 years ago. (Armoury of the Raja of Shahpura.) PLATE XXVIII. 1. Curved sword, Taiwan, with bifurcated point. The back and edge of the blade (except about five inches) are serrated ; hilt dama¬ scened. 2. Straight sword, Khanda sakela lohar dariya. Basket hilt, spiked pommel ; broad blade with ex¬ panded, bifurcated point; back and point edges of blade serrated. It is marked with a trident and the inscription—- Sri tat parusram kakhr shalru khsay Kuru kuru swaha srijayat. 3. Sword, similar to No. 2, but with plain back and serrated edges, Katta lohdr dariya. (Dholpore Armoury.) 4. Hunting sword, Shikdrgah. The reverse of Plate XXIII. 1. (Karauli Armoury.) Plate XXIX. 1. Scabbard of No. 2, covered with light blue velvet; mounts floral pattern, embossed gold. 2. Curved sword, Taiwan Alaimani. The blade is a very fine one ; it was made by Mahomed Sadi'k for Maharaja Bani Singh, of Ulwar, who cut off a buffalo’s head with it. j ARMOUR. 3. Scabbard of No. 4. Embossed black leather. 4. Hunting sword, Shikdrgah or Sirohi gaj bail. Hunting scenes in high relief on the blade. (Ulwar Armoury.) Plate XXX. 1. Short Nepalese sword, Kora Bhujala , with expanded point and flat blade ; hilt damascened. It has two disc-shaped guards. Mark, a lotus with eight petals. 2. Long, narrow, straight sword, Sakero Lamba. Basket hilt, spiked pommel. 5' 10" by 1 3. Huge broadsword. 3' 9" by 3Steel hilt and knuckle guard. Tega anzdang. (Dholpore Armoury.) 1 Plate XXXI. 1. Broad curved sword, Talwar. Blade watered ; hilt a good example of inlaying in gold wire. 2. Sword, Sosanpatta (so named from the green colour of the scabbard .) Made by Hajf Nur Mahomed thirty years ago. Value about 1,000 rs. (Ulwar Armoury.) 3. Sword like a Nepalese Kora, but longer. Pro¬ bably a Farang, or European blade. Padded basket hilt and spiked pommel. Marked near the hilt SN and IXIDLIOTNEDN, and also pierced with seven sets of three nails. (Jhallawar Armoury.) Plate XXXII. 2. Scabbard of No. 3. Open¬ work gold mounts. 3. Straight sword, Khandd. Broad blade strength¬ ened by long gilt side, front, and back pieces, with both edges sharp. Hilt adorned with flowers in relief. (Tonk Armoury.) PLATE XXXIII. 1. Curved sword, Talwar. Hilt boldly damascened. Scabbard mounts open'work gold. (Thakur Futeh Singh, Jeypore.) Plate XXXIV. 3. Scabbard of No. 4. Covered on one side with purple, on the other with green velvet. Embossed gold tip and metal back piece. 4. Straight sword, Khandd. Double edged, with broad triangular point ; padded basket hilt ; spiked pommel ; seven gold studs at the base of the blade. 5. Large heavy grooved and curved short sword, Kora. Blade expanding to the point, near which is a flower with eight petals. Tv\o pommel discs and padded handle. 6. Sheath of No. 5. Wood covered with green velvet and embroidery ; mounts gold open work. 7. Long, narrow, straight sword, 3' 1", Bugdar. Jade handle inlaid with gold sprigs ; blade marked O V . 18 . I, in English figures ; scabbard mount, jade ; double grooves and dots on the back of the blade. (Oodeypore Armoury.) PLATE XXXV. 1. Curved sword, Talwar. Blade watered ; hilt damascened. The tassel attached to the pommel is made up of ninety pearls, three emeralds, and two clasps of six rubies. There are eight rubies and two diamonds set in enamel in the buckle near the top of the hilt. Scabbard covered with green velvet ; mounts pierced gold. 11 3. Short curved sword, Talwar , with thick point. Blade marked with an umbrella in gold and the makers’ names (Shaikh Ahmed and Gul Ahmed). 4. Scabbard of No. 3. Covered with blue velvet ; mounts gold. (Oodeypore Armoury.) PLATE XXXVI. 1. Curved sword, Talzuar. In¬ dian hilt with knuckle guard, diaper pattern in gold ; scabbard black leather. 5. Curved sword with saw-like edge and point. Hilt embossed with gold pattern ; blade inlaid with gold flowers and scrolls. 125 years old. Hilt made at Datteah, blade at Delhi. 11. Curved sword, Talwar. Hilt embossed with flowers in gold ; mark on blade K x I) x i~i x (I*) ; scabbard plain leather (t x 1) x i~i*(Ix). (Tonk Armoury.) Plate XXXVII. 2. Scabbard of No. 3. 3. Gauntlet sword, Patta, used by Nagas, or military ascetics. The steel gauntlet is padded and its attachment to the blade is strengthened by a side guard. Plate XXXVIII. 2. Straight sword, Khandd. Edge double near the point ; blade strengthened by gilt side, edge, and back bars ; hilt embossed in gold. 125 years old. (Ulwar Armoury.) 3. Straight sword. Blade beautifully watered. Value 505 rs. (Property of Captain Man Singh, Jeypore.) Plate XXXIX. 1. Curved sword, Talwar. Hilt and top of blade damascened. 2. Scabbard of No. 1. Steel, with animals and flowers in gold niello. 3. Hunting sword, Shikdrgah , with large curve. Covered on both sides, with figures of animals and birds in high relief outlined in gold. PLATE XLI. i. Scabbard of No. 2. Black leather. Embossed floral pattern on one side and ribs on the other. 2. Sword, Shamsher. Blade much curved, narrow, watered. Pistol hilt ; ivory side pieces. Belt, sambar skin with steel clasps. Maker of blade, Asadulla. 5. Long rapier with damascened Indian hilt. The blade is marked ‘Andrea Ferrara ' on both sides. 6. Scabbard of No. 5. 8. Scabbard of No. 9. Mounts plain metal. 9. Broad-pointed straight sword with both edges sharp. Gilt side, back, and edge bars ; basket hilt and pommel spike. (Tonk Armoury.) PLATE XLII. 2. Scabbard of No. 3. Mounts steel inlaid with gold. Covered with red velvet. 3. Curved sword, Talwar. Indian hilt, boldly damascened. Blade very fine, inscribed, ‘ Shah Va- laiyat Abbas Jalulal Shahnahu ’ (Shah Abbas the Great lived A.D. I 5 ^ 5 )- 4. Curved sword, Talwar. Watered blade, inscribed 1 These weapons are incorrectly stated in the titles below the plate to have come from Ulwar. INDUSTRIAL ART AT THE JEYPORE EXHIBITION. in cut letters, ‘ Tawakul-Allah-Ali ’ (Confidence in God). Hilt with boldly damascened floral ornament. Scabbards covered with green velvet. Mounts gold, embossed with figures, birds, and animals. 9. Curved sword, Talwdr. Blade beautifully watered, inscribed ‘ Shah Valaiyat Abbas,’ and with a lion engraved and chased in a circle and labelled ‘ Asad ’ {Lion). Copper hilt, gold-embossed. (Oodey- pore Armoury.) Plate XLIII. i. Gauntlet sword, Pattakali , with damascened ornament. (Dholpore Armoury.) Plate XLVI. 1. Scabbard of No. 2. 2. Sword, with lower part of the front edge con¬ vex. Back and front bars. Hilt plain, with knuckle guard. Cost 15 rs. Made by Nur Buksh, Jeypore. PLATE XLVI I. Four swordsticks from Sirohi. Handles and cases all inlaid with thick gold wire. A spear-head. The lower part damascened in gold. Plate XLIX. i. Sword, Talwdr. Basket hilt. 2. Scabbard of No. 1. Pierced floral pattern. Silver and gold chasing. Cost of 1 and 2, 200 rs. Made at Jeypore for Captain M^n Singh. SWORD HILTS. Plate XXXIX. 6, 7, 8. Three sword hilts inlaid with patterns in gold wire. Plate XLIV. Three sword hilts inlaid with patterns in gold wire. (Jeypore Armoury.) PLATE XLV. Three sword hilts inlaid with patterns in gold wire. (Jeypore Armoury.) THE SWORD. The Hindus look upon the sword as the king and origin of weapons. In the Apaddharma of the Santi Parva of the Mahabharata Bhishma is described as narrating on the field of Kurukshetra to Nakula, one of the Pandu brothers, the history of the creation of this weapon. There was war between the gods and demons, in which the latter seemed to be gaining the victory. The great sages consulted on the matter, and Brahma then performed a sacrifice on the Himalaya Mountains, from which was born a mighty form—a meteor like a lotus—which ultimately became the sword. He gave the weapon to Rudra, or Shiva, the Destroyer, who used it to despatch the foes of the deities, and so restored peace to the disturbed universe. The sword is worshipped at certain periods and has a special litany, or series of prayers, which are recited in its honour. Many Hindu swords are inscribed with sentences involving success to those who use them (for example, Plate XXVIII. 2, Vol. II.). The best Mahomedan blades are also engraved with verses from the Koran or with praises of Ali: the latter are, for the most part, Persian weapons. Amongst the illustrations are a few blades of great value which belong to the chiefs of Oodeypore and Ulwar ; several of them were made by Asudulla, the most noted artist of the court of Shah Abbas the Great of Persia (about a.d. 1585). They are all exquisitely watered, and much labour and money have been spent in making the hilts and scabbards worthy of them. Special attention may be drawn to the gold-enamelled mounts of some of these swords and to the bold inlaid hilts of others. Enamelling in gold is the master art of India, and at Jeypore it is most successfully practised. Primarily the art was applied to adorning weapons, and most of the ancient examples of the work are of this kind. In the first volume several fine specimens have been illustrated in colour. A dagger from Jhaliawar is an elaborate and well-executed example of Persian enamelling. The colours are of a lower scale than those used by the Indian artist, and consequently the general effect is somewhat poorer. The handles and sword mounts made at Jeypore emit a fire and glow from the ruby green and blue enamels which pale even the lustre of the gems with which they are encrusted. The art of inlaying steel with gold is practised by armourers throughout Rajputana. The work is good honest work, and not gilding, as in so much of the inferior damascening of the Punjab. * A channel is cut deep into the steel, and into this is hammered thick gold wire, which is after- ARMOUR. wards incorporated with it by heating the article in the fire. Sirohi is most famous for inlaying in gold, but it is still more renowned for its sword blades—a reputation said to have been secured, as before mentioned, as far back as the days of Herodotus. Inlaying in gold is done at every court, and in some cases with marvellous effect. The coloured plate No. III. Vol. I. is a splendid example from Ulwar, in which temples and foliage are exquisitely delineated. Plate No. XXIV. Vol. II., from the Thdkur of Chomu, is not less wonderful. Upon the hilt are represented no fewer than twenty-five scenes from the life of Krishna, each in its own medallion and bearing a title in gold letters. The Jeypore armoury contains a great collection of sword hilts inlaid with gold. A few of these have been photographed. There are hardly two alike, and the fertility and richness of design displayed by the artists who prepared them is astounding. The sword hilts are of various forms. The Indian hilt proper has no knuckle guard ; it admits of no play of the hand : it is thus small in order that the grip may be firm, so that the drawing cut, which is the one employed by the Oriental swordsman, may be made with great effect. The heavier weapons have the knuckle guard, which in some cases makes the handle into a basket hilt. The basket hilts are padded, and the pommel is generally covered with wire to give a firm hold. Two or three pillow swords have been illustrated. In them the handle is shaped like a crutch, upon which the owner could lean when seated on the musnad , or cushion—amongst Iviahomedans the equivalent of the throne ; or with the Hindus on th egaddi, pillow or cushion. This sword was short and so shaped that it could be used in the sitting position in case of treachery, a very striking illustration of the danger to which even kings were exposed in the troubled epoch which preceded the English supremacy in India. One of these sabres has several open channels in the blade, in which play small shot. A few of the swords and daggers in the collection are thus grooved for the reception of gilded leaden pellets, or even pearls. This is done with a twofold object—to increase the beauty of the weapon and to add to the danger of the wound made by it. Mons. Rousillet, in his ‘ Les Indes des Rajas,’ draws attention to a method of beautifying the blade by letting rubies into the surface, to imitate drops of blood, and goes on to make the somewhat cynical observation that the English have spoilt the armouries of the Indians to enrich themselves. The splendid collection at the Exhibition sufficiently refutes this charge. The blades of the swords shown at Jeypore came from all parts of India, from Persia, and even from Europe. There was an Andrea Ferrara rapier with an Indian hilt; a blade from the celebrated forges of Solingen, in Germany ; others from Persia, and a few from Afghanistan; but of all the Rajput prefers those made at Sirohi. The form of blade depends upon its use and origin. The Indian sword, or talivdr , has its edge on the convexity, and is broad and strong ; the sacrificial sword, often large and used with both hands, is straight, long, and broad, with a blunt or even bifurcated point; it must also be massive, to enable its weight to tell when it is used for decapitating large animals, because the work must be accomplished at one stroke, to avoid spoiling the offering. Devi, or Durga, to whom bloody sacrifices are made, likes her work done cleanly and at a single blow. The young Rajput at the Dahsahra, or festival of war, cuts off the heads of goats and buffaloes before his chief in honour of Devi, and would be disgraced were he to fail to complete his task with a single cut. To ensure success he practises on a pile of moistened clay spread out on a board in his stable yard, the Indian gymnasium, and thus is rarely disappointed on the great day of trial. The Indian swordsman does not fence, and therefore does not require a pointed weapon. The aboriginal tribes and men of low caste, however, use fencing sticks in sport. The large gauntlet swords are chiefly used by the Ndgas, or military ascetics, who have their headquarters at Narana, and in some large towns near Jeypore ; they are paid a retaining fee by the chiefs of Jeypore, and have proved most reliable servants in times of difficulty. The Naga Jamdt, or assembly of Nagas, is called in on great occasions to Jeypore ; as, for example, at the visit of H.R. H. the Prince of Wales to that capital, when the men marched before the royal procession in a INDUSTRIAL ART AT THE JEYPORE EXHIBITION. 14 dense mass or gal, with several of their most renowea swordsmen at their head, who displayed their skill in the use of the patta , or gauntlet sword, for the amusement of the Maharaja’s royal guest. The hunting swords are of somewhat slighter make than the talwar, or war sword. The blades and scabbards are ornamented with figures of animals or with sporting scenes, some in raised work, others in gold inlay. (See Coloured Plates IX. and X. Vol. I., and Platinotypes XXIII. 1, XXVIII. 4, XXIX. 3 and 4, XXXIX. 2.) The Nepalese short sword has a broad expanded point and a heavy back like the ktikri, a sort of dagger or axe ; it can be used for cutting aside brushwood when it obstructs the passage of the owner through his native forests. Most of these weapons are marked with a lotus. A massive talwar, or broadsword, of immense weight was sent from Dholpore (Plate XXX. 3, Vol. II.), whence also came a straight sabre, 7 feet 2\ inches long (Plate XXX. 2, Vol. II.). Both weapons were fit for a giant to use. The most serviceable swords in the hands of an Indian are perhaps the Persian shams hers, such as those lent by the Nawdb of Tonk. The handles are pistol-shaped and are formed by two bone side pieces fastened to the shaft, which is continuous with the blade. SCABBARDS. Curiously enough, most of the metal scabbards exhibited belonged to thehunting swords. One of these has been reproduced in colour (Plate IX. Vol. I.) It is of brass, and is covered with figures and foliage on a ground of black niello. At Plate XLIX. 2, Vol. II., is a pierced scabbard of metal with the pattern in chased silver and gilt brass. The scabbard of an Indian weapon is usually made of two flattened slips of the wood of the Ailantus excelsa (Chinese silkworm tree), the IVrightioAomentosa (carved into plates, book slides, &c., at Saharanpur), or of some other soft wood. These are covered with leather, velvet, or brocade of different colours, and the sword is named from its cover, as, for example, so sun patta, a sword with a blue cover. The scabbards of the shamshers from Tonk were covered with black leather embossed into diaper or floral patterns. A beautiful scabbard from Ulwar will be found in Vol. I. Plate IV. It is set with eems of value. Other examples are given in which the tip and mounts are enamelled. Great care should be taken in returning a sword the right way into its sheath, as if it be forced in the wrong way the edge may pass between the wooden sides and through the cloth cover, and thus injure the owner. The metals, ivory, jade, walrus ivory, bone, have been used for the hilts and mounts. Several eccentricities in sword manufacture have been photographed, one (Plate XXVIII. 5, Vol. II.) in which two swords fit into each other, the blade of the larger being hollowed out to receive the smaller. SPEARS. Plate XXXVI. 6. Spear with wooden shaft and triangular blade, the shape and size of a dagger, or peshkabz. Bandpeshkabz. (Tonk Armoury.) PLATE XXXVII. 4. Spear with long sword blade attached to a steel shaft, on which are three circular guards to protect the hands. Band. Made at Delhi. (Tonk Armoury.) Plate XL I. 7. Steel spear with a flat point at ea^h end. Naichak. Each point has a sheath covered with red velvet. Used by Nawab Wazir-u-daula of Tonk. (Tonk Armoury.) The spears illustrated are simply daggers or swords mounted on poles. The third, a javelin, dating from Moghul times, could be thrown from a horse. A number of long spears with bamboo shafts, flat spear points, and-steel spuds were sent from Karauli and Tonk. One or two had pistols concealed in the shaft, from which a ball was propelled as soon as the weapon was thrust home into the body of an enemy. CHAPTER II. PERSIAN ARMOUR AND METAL WORK. PERSIAN ARMOUR. LATE L. i. Shield with four bosses. 1 Steel with perforated and embossed ornament. A red foil backing is seen through the perforations. 2. Helmet with fine chain coif, bayonet spike, long nasal, two porte-aigrettes, and two large horns. The front of the helmet is formed like a man’s face. Orna¬ mented with engraved and pierced work, backed by red foil. 3. Arm guard of the same suit as No. 3, with chain gauntlet. (Ispahan, Persia.) Cost of the complete set of armour, 200 rs. Plate LI. 1. Dagger. Steel, engraved and in¬ laid with silver wire. Blade covered with inscriptions in relief. 2. Battle axe, with crescentic blade, shaft termi¬ nating in a spike ; all steel. Inlaid with silver wire. 3. Sheath of No. I. Engraved and inlaid. Steel. 4. Steel mace, with hollow top shaped like a cow’s head. A considerable collection of armour and metal vessels made at Ispahan, in Persia, was brought t° Jeypore by a travelling merchant of that country, and, as it was displayed at the Exhibition, a few photographs of the most interesting examples were taken, with a view of including them in these volumes, in order that a comparison might be drawn between them and Indian work, which undoubtedly owes much to Persia. Major Murdoch Smith, in the ‘ South Kensington Manual of Persian Art,’ gives full details on these subjects. It is evident from this work and from the illustrations now brought together that the majority of Indian weapons are derived from Persia, especially as regards ornament. The body armour and spears are of Persian origin, the ancient Indian forms having been relegated to the aboriginal tribes and to districts remote from Delhi. The mace with a top shaped like a cow’s head is the national arm of the Persians. It is the famous weapon of Feridoun, the grandson of Jamshid, who overcame with it Zohak the tyrant. The hero was reared by the wondrous cow Parmaieh, and, in memory of her, his mace was made with a top shaped like her head (Shahnamah. 1 ) The shield, helmet, and brassard represented in Plate L. Vol. II. are engraved and enriched with panels of open work, with a background of red foil. The helmet is shaped like the head of a man with horns, reminding students of the supposed origin of helms—that is to say, the use of the heads of animals for defensive purposes. Possibly it was made in ridicule of the Devs, or followers of Ahriman, the Turanian, the enemy of Ormuzd, the good spirit of the Aryan Zoroastrians. PERSIAN METAL WORK. Plate LI. 5. A duck on a stand. All steel, with plumage inlaid in silver wire. The bird is hollowed to form a box. (Ispahan, Persia.) PLATE LII. Model of a peacock with expanded tail. Engraved brass filled in with black varnish. Neck and thighs inlaid with silver wire. Eyes jewel¬ led. Breast ornamented with a medallion in gold. The tail, stand, and parts of the body are covered p with inscriptions. Cost 100 rs. (Ispahan, Persia.) PLATE LIII. i. Shallow bowl of brass with high cover. Engraved, chased, and pierced pattern. Cost 10 rs. 2. Salver. Brass. Engraved and chased. Figures in oval medallions. Cost 13 rs. 1 Miss Zimmern’s edition of a French translation, 1883. INDUSTRIAL ART AT THE JEYPORE EXHIBITION. 1. Bowl and cover. 2. Vase with cover. Dakhl-i-pul, Cost 22. rs. 8 as. 3. Bowl and pedestal with cover. Plate LVI. Persian metal work, similar to Plate LIV. 1. Vase and conical cover. 2. Vase on a stand. 3. Globular vessel with cover. These are all in¬ cense burners. 3. Model of a camel, opening to form a box to contain perfumes. Brass. Pierced, engraved, and chased. Cost 40 rs. (Ispahan, Persia.) PLATE LIV. Persian metal work. Brass. Pierced, engraved, and chased. (From Ispahan, Persia.) 1. Pedestal. 2. Large vase. Cost 25 rs. 3. Candlestick. Cost 22 rs. 8 as. PLATE LV. Persian metal work, similar to Plate LIV. It appears from Major Murdoch Smith’s book that most of the Persian steel and brass work comes from Ispahan. The articles are ornamented by engraving, carving, chasing, incrustation, or gilding. The examples of carving and engraving in relief are rare. In the more modern specimens, such as are many of the vessels illustrated in Vol. II., much of the engraving is open work or a jour. The duck (Plate LI. 5, Vol. II.) can be opened to contain condiments ; the camel and peacock can be utilised in the same way, but the latter also serves as an incense burner. The huge figure of a peacock is emblematic of the sun and of fire, its sacred symbol, adored by the Guebres, or disciples of Zoroaster, who are represented in India by the Parsis. Most of the panels on the vessels are covered with grotesque figures of men and animals. The vase illustrated in Plate LV. 2, Vol. II., is a dakhl-i-pul, which is suspended in the roast- meat and other shops for holding copper money. The open-worked vessels are incense burners, which are said to have been in general use in Persia in ancient times for burning fragrant gums in CHAPTER III. DAMASCENING AND INCRUSTATION IN METAL. DAMASCENING ON METAL. LATE LVII. Steel sword hilts inlaid with patterns in gold. 1. Floral pattern, parrot-shaped head and knuckle guard. From Sirohi. 2. Embossed, Kabul fashion, knuckle guard. Made by Ma¬ homed Husain, Gujrat. Cost 12 rs. 3. Three knuckle guards. Made by Mahomed Azim, Gujrat. Cost 15 rs. 4. Indian hilt. 5. Sirohi hilt. Plate LVII I. Steel sword hilts, inlaid with gold. 1. Indian hilt. Made by Mahomed Bux, Jamoo. Cost 20 rs. 2. Hilt with knuckle guard. Made at the School of Art, Jeypore. Cost 14 rs. 3. Hilt with knuckle guard. Made by Azim Mahomed, Gujrat. Cost 20 rs. Plate LIX. i. Steel sword hilt. Indian shape. Inlaid with gold. Made by Mahomed Azim, Sialkot. Cost 11 rs. 2. Hookah mouthpiece, inlaid. Made by Miani-u- din, Gujrat. Cost 3 rs. 3. Steel helmet, with plume or banner-holder and two porte-aigrettes, sliding nasal, and curtain or coif of chain mail. Inlay with gold. Made by Haji Mahomed, Gujrat. Cost 35 rs. Plate LX. Breastplate with chain attachments. Helmet with chain coif, banner-holder, two porte- aigrettes, and sliding nasal. All steel, inlaid with gold. Cost of suit of armour and helmet, 140 rs. Made at the Kotli-Loharan, Sialkot. Plate LXI. Helmet, arm guard, and two pieces of armour. Steel, inlaid with gold. Chain coif and gauntlet. Cost of the complete suit, 150 rs. Maker, Futeh Din, Sialkot. This suit obtained the first prize for damascening at the Jeypore Exhibition. Plate LXII. i. Steel shield inlaid with gold. Made by Futeh Din, Sialkot. Cost 40 rs. 2. Steel shield, inlaid. Made by Mahomed Hassein. Cost 30 rs. Plate LXI 11 . 1. Steel shield inlaid with gold ; edge raised. Made by Futeh Din, Sialkot. Cost 35 rs. 2. Steel shield with raised ornament, inlaid with gold. Made in the Punjab. Plate LXIV. i. Double spear head. 1 and 3. Spear spud or base. Parcel gilt, except the point. Made at Datteah, Central India. 2. Parrying shield, Marti. The shield is inlaid, and has four bosses and a raised crescent. The horns are pointed with steel. Plate LXV. i. Knife, Chhiiri. Blade steel, with thick point. Made by Kalian Khan and Nur Bax, Jeypore. Cost 2 rs. 2. Model of a spinning-wheel. Steel, inlaid with gold. Made by Ramzan, Sialkot. Cost 80 rs. 3. Double-pointed dagger, Peshkabz. Hilt inlaid with gold, blade ornamented with raised work. Made at Patiala. Cost 35 rs. Plate LXVI. i. Spear point. Steely inlaid with gold. 2. Hookah and tongs. Steel, inlaid with gold. 3. A pair of scissors shaped like a bird. Steel, damascened. PLATE LXVI I. r. Salver. Steel, inlaid with gold. 2. Salver. Steel, inlaid with pattern in gold arabesques. Plate LXVI 11 . 1. Salver. Steel, inlaid with gold. Pattern, a mosque front. 2. Octagonal box inlaid with gold. 3. Plate inlaid with arabesques in gold. Plate LXIX. i. Bottle for antimony, Sur- madani , shaped like a mango. Steel, inlaid with gold. 2. Flower vase. Steel, inlaid with gold. 3. Pen tray. Steel, inlaid with gold. PLATE LXX. Book covers. Steel, inlaid with gold. PLATE LXXI. Examples of misapplied labour. All steel, inlaid with gold. 1. A candlestick with horse-shoe base and a handle shaped like a whip. 2. Candlestick, inkstand, and pen rack. 3. Inkstand. 4. Fish-shaped paper weight. About seven hundred specimens were exhibited at Jeypore in this class, ‘ Damascening on VOL. 1. D i8 INDUSTRIAL ART AT THE JEYPORE EXHIBITION . Metal,’ but, as the great majority of the arms were more or less enriched by damascening, the art was, perhaps, better represented than any other in the collection. The jury considered that the specimens shown by the dealers were not of a high class, but it was evident from the great variety of the exhibits and the beauty of some of the loan examples that damascening in metal is not only an industry of the utmost importance, but that excellent work, good in design as well as in execution, can still be produced. Some of the Punjab workmen, as, for example, Mahomed Azim, of Gujrat, the maker of a plate in the Jeypore Museum, have, following the advice of Major Cole and other authorities, adopted very successfully a broader style of treatment than the usual method, in which the object seems to be to endeavour to hide the ground by a wearisome superabundance of meaning¬ less ornament. Sir George Birdwood states that the art originated in Damascus, hence the European name. The terms employed in India for the different branches of the art and the names of the crafts¬ men are Persian, and it is through Persia, in all probability, that we must look for the introduction of the industry into India. The Ain-i-Akbari enumerates damascening as one of the arts practised in the Imperial Court. The Moghul Emperor Akbar encouraged the arts, and probably under his influence many new ones were developed, while foreign workmen were induced to settle in the country, but it is difficult to say what arts owe their origin to him. Under his patronage, however, much improvement took place. In Persia three forms of damascening have been practised. True incrustation, in which channels are cut into the steel ground and filled up with gold or silver wire, which is made to adhere by heating and hammering. This is true damascening, or tah-nishdn , from two Persian words signifying respectively a plait or fold and a mark or scar. In several of the illustrations of arms, especially a sword hilt (the Coloured Plate III. Vol. I.), this mode of orna¬ mentation is beautifully shown. Most of the older examples are done in this way, because men then wanted weapons that would last for a lifetime ; but the present generation soon becomes weary of even the best work, and requires constant change ; hence the demand, both in Persia and India, as in Europe, for cheap and showy articles. The workmen attain these ends in two ways—one in which the wire is hammered on surfaces which have been slightly scratched to receive it, the other by gilding with gold or silver leaf. For both the term koft is applied, and the workman is known as a koftgar (really a gilder) and the trade as koftgdri. All forms of damascening require burnishing and polishing. Most of the examples purchased by Europeans are turned out at Sialkot (in the quarter known as the Kotli-Loharan) and at Gujrat, in the Punjab, but throughout that province the art is largely practised by the descendants of men who supplied the Sikh court and armies with weapons and coats of mail, but who now find most profit in decorating small boxes, trinkets, and other articles of similar character. Plate LXX. i, Vol. II., is given to show the absurdly uninteresting, ugly, and inartistic subjects which the dealers find it worth their while to keep in stock. Gold and silver wire and leaf are used either alone or together, in the latter case being known as Ganga-Jamni, from the union of the dark waters of the Jumna with the muddy stream of the Ganges at Allahabad. At most native courts there are workmen who damascene in the good old way. The scabbards of the sword sticks [gtipti) and the hilts of the swords sent from Sirohi, near Mount Aboo, were all ornamented with thick gold wire hammered into deep channels in the steel, which from the frequent beating had acquired a beautiful blue hue. True damascening is also executed at the Jeypore School of Art, and where the gold is judiciously used the effect is good. INCRUSTATION IN METAL. PLATE LXXII. Specimens of articles made of copper and brass incrusted with silver ornaments. Sold by Suthashiva Thavai, West Main Street, Fort, Tanjore. r I DAMASCENING AND INCRUSTATION IN METAL. 19 1. Brass water pot, Lotah , with cover. Maker, Sukramony. Price 25 rs. 2. Copper circular salver on feet. Maker, Chil- lambram Puthen. 32 rs. 3. Copper Thamba , or water vessel. Maker, Rashu Puthen. 16 rs. 4. Octagonal salver of copper—Krishna, the Hindu Apollo, playing the flute with the gopis, or milkmaids. Maker, Sukramony. 50 rs. 5. Copper Chainba , or water vessel, with cover. Maker, Chillambram Puthen. 50 rs. The above are examples of incrustation of silver on brass and copper. The following remarks on this subject are extracted from Dr. Bidie’s * Catalogue of the Madras Contributions to the Calcutta International Exhibition of 1883’:— ‘ The encrusting of copper ware with silver figures is a modern adaptation of the older art of covering brass with copper figures, and the silver is attached to the copper by the same kind of junction as that employed for fixing copper on brass (viz. by hammering and a sort of dovetail union). But, as the metals are more valuable, greater trouble is taken to secure a better finish, and an examination of the silver figures in first-class work shows that more graver and less die or chisel work is used than in the case of copper or brass. ‘ The designs consist, as usual, of mythological figures and floral decorations, which, although in some cases rather crowded, have yet an excellent general effect.’ A good example of the old Tanjore work in copper and brass is given in colours in Vol. I. (Plate XXIV. 2), and beside it is a small specimen of the modern work. Most of the examples of this art shown at the Exhibition are carefully executed, but it is exceedingly difficult to procure good work at other times. There is so much demand for specimens, and so powerful are the influences that keep the industry in the hands of a few workmen, that practically they have a monopoly which enables them to gain a good livelihood without the necessity of exerting themselves to produce finished articles. The crustae are made of copper, too often but very thinly plated with silver. The figures are cut out in large numbers from a sheet of the prepared metal, at times so carelessly that the junction of the two metals is seen at the edges of the crustae. With proper supervision, however, these defects can be easily overcome. At exhibitions, notwithstanding the relatively high price of Tanjore brass ware, it usually sells at a very rapid rate. 20 INDUSTRIAL ATT AT THE JEYPORE EXHIBITION. CHAPTER IV. WORK IN BASE METAL. BRASS. LATE LXXIII. i. Small wine cup. Brass. I r. 4 as. 2. Tumbler with cover and spout. Engraved brass (see No. 6). 4 rs. 3. Brass lamp with oil re - ceptacle shaped like a yoni. 2 rs. 4. Brass lamp with the shaft formed like a bird. 3 rs. 5. Goblet. Engraved brass. 3 rs. 6. Engraved brass vessel, with a small spout, out of which strong liquors can be drunk drop by drop. Chuski. 4 rs. 8 as. School of Art, Jeypore. PLATE LXXIV. i. Brass sugar bowl supported on three figures of Garuda, the vulture king, with spoon crowned by a Garuda. 10 rs. 2. A Jambu , or vessel for Ganges water, used by pilgrims. Engraved brass. The opening is a lotus flower. In the next row are Hanuman and other followers of Vishnu. Below—Vishnu, reposing on Anantnag, the serpent of infinity, with Garuda on one hand and the chariot of the sun on the other. Below are incarnations of Vishnu. The words ‘Jay Ram,’ or Victory to Rama, are inscribed over and over again on the vessel. 18 rs. 3. A large vase and cover. Engraved brass. Shiva and his incarnations. School of Art, Jeypore. Plate LXXV. i. Flat brass betel-leaf box, with pierced work. 1 Narayana said, ‘ Let the ocean be churned like a pot of milk by the suras and asuras ’ (gods and demons), ‘ and the amrita ’ (or immortal fluid) ‘shall appear.’ The mountain Mandara was used as a churning staff, Kurma-raja, king of the tortoises (an incarnation of Vishnu), supported it, and the serpent Vasuki consented to act as the churning rope. The asuras pulled at the tail, the gods at the head. Smoke and flame issued from the serpent’s mouth and formed clouds and rain. After a time there came forth from the ocean :— 1. Soma, the moon. 2. Sri, the goddess of fortune. 3. The goddess Sura. 4. The white horse, Utch-chai-srava. 5. The jewel Kaustabha, worn by Narayana. 6. The tree Parijata, which granted all desires. 7. The cow Surabhi, yielding the objects of every wish. 2. Round salver of brass, engraved with figures of animals and flowers. 12 rs. 3. Octagonal salver of brass, engraved with a representation of the story of the gods and demons churning the sea of milk. The incarnation of Vishnu, known as the tortoise or turtle Avatar. 12 rs. 1 4. An incense holder, for use in the worship of Shiva. The tray springs from the back of Nandi, his vehicle. School of Art, Jeypore: PLATE LXXVI. i. Image of Shiva or Mahadeo with screen, such as is used in the Deccan. Brass. 2. Handi with tray. Water vessel engraved with figures with fish bodies, from one of the stories of the life of Krishna. 12 rs. 3. Panchpd.tr. Brass engraved vessel resting on a tortoise. Used in the worship of Vishnu. 6 rs. School of Art, Jeypore. Plate LXXVI I. 1. Brass boat-shaped betel-leaf box, with panels of open work in the cover. 16 rs. 2. Brass water vessel, such as is used by ascetics in Bengal. 13 rs. 3. A brass cylindrical betel case, with compart¬ ments for leaves, the areca nut, cardamoms, and lime used for the pan, or masticatory. 3 rs. 4 as. School of Art, Jeypore. Plate LXXVIII. Box of pierced brass. Made by Narsingh, a blind youth in the School of Art, Jey¬ pore. Cost 35 rs. 8. The god Dhanwantari, the heavenly physician, bearing the amrita in a white vessel. 9. The elephant Airavata (Indra’s elephant), with four tusks. 10. The poison which Shiva swallowed, so that his throat became blue ; hence he is called ‘Nila-kantha.’ The demons gave the amrita to Narayana, who beguiled them by taking a female form. Rahu, a demon, however, swallowed a little. His head was cut off, as the sun and moon told what he had done. The head of Rahu has since been at enmity with both, and by his persecution causes eclipses. Garuda, the vulture bird, once stole the amrita from Indra, who kept it beneath a revolving wheel armed with knife blades, guarded by two serpents. He threw dust in the eyes of the serpents and passed through the wheel. WORK IN BASE METAL. 2 r A most complete as well as interesting and valuable account of metal ware in Northern India, will be found in the first number of the ‘ Indian Art Journal,’ from the pen of Mr. Kipling, of Lahore. Although his monograph professes to deal only with the brass and copper ware of the Punjab and Cashmere, it would apply in most respects equally well to Rajputana and Malwa, where, how¬ ever, from the predominance of a Hindu population, brass is more in demand than copper. The brass founders and copper beaters live in a large quarter of the town of Jeypore, apart from the dealers, who occupy a long range of shops in the great bazaar, where on the night of the Diwali—the festival of the Goddess of Fortune—they display all their treasures amidst the blaze of many lamps, to the astonishment and delight of all good Hindu house-keepers, who estimate the wealth of a family by the number, weight, and variety of its brazen cooking pots. Brass domestic utensils undergo at the hands of the careful Hindu housewife a daily scouring with sand and water, a sufficient explanation of the fact that any artistic merit they may possess is due to form and not to delicate surface ornament, which would soon be obliterated by such rough cleans¬ ing processes. For the same reasons the vessels are wide-mouthed and do not have those drawn- out, narrow, and graceful necks which the Mahomedan has adopted from Persian sources. Many Hindu vessels follow the shapes of natural objects, such as gourds and fruit. The work of every province has its peculiarities and can be distinguished almost at a glance. The collection of old brass in the Jeypore Museum is, perhaps, the most perfect in India. It contains a large number of specimens, such as in all probability will ere long be unobtainable, as the native manufacture is being much influenced by the patterns imported from Europe. As soon as vessels are worn out the owner makes them over, in exchange for new ones, to the dealer, who consigns them to the melting-pot. Most ornament is lavished upon the enrichment of vessels intended to contain Ganges water ( jambu ). These have narrow necks fashioned like an opening lotus, a pedestal, and a broad and capacious body, which is covered with bands of figures and, as a rule, bears an inscription in honour of the particular deity of the owner, as, for example, ‘ Jay Ram,’ or Victory to Rama. On the lowest band is most frequently drawn the river Ganges, filled with flowers, fish, and reptiles. It is represented flowing from the matted locks of Shiva, who sits in an upper band amongst the deities or symbols connected with his own form of worship, or beside the incarnations of Vishnu. A good deal of engraved brass, originating in the example set by the School of Art, which derived it from Benares, has of late been largely sold at Jeypore. The subjects are chiefly mythological. The principal of the school states that a great impetus was given to the manufacture of engraved brass by the Simla Exhibition of 1879, and that at the present time there is much demand for both useful and ornamental articles in this style. The work passes through four stages. 1. It is moulded or cast by the brazier. 2. It is polished by the turner. * An artist covers the surface with a solution of chalk, and when this is dry sketches the design upon it with a hard pencil. 4. It is made over to the engraver, who finishes it. Pretty little soap and betel-leaf boxes are also made at the school and in the city, which are enriched with pierced and chased floral designs and panels covered with engraved figures. There are some beautiful specimens of old betel boxes and dish and lamp covers in this style in the Jeypore Museum. The chefs d'oeuvre of the brazier are the lamps for temples and shops, some of which are made on a very large scale. The best lamps, which come from Ujain, in Central India, are in the form of female figures supporting the bowls for the oil and wicks. In Jeypore itself about a hundred families are engaged in the manufacture of brass. The INDUSTRIAL ART AT THE JEYPORE EXHIBITION. wages of the workmen vary from 3 to 8 annas per diem, and the cost of the articles ranges from 1 r. to 3 rs. per seer of two pounds two ounces. The Jeypore State tax on brass-ware exported is 2 rs. 8 as. per maund of eighty two pounds. Jeypore sends brass vessels to Jodhpore, Pali, 1 and Oodeypore, beyond its own borders, and imports the raw material in sheets from Bombay. Every town in Rajputana and Malwa has its brass and metal shops, and a few places are noted for specialities, as, for example, Jhunjhnu and Chirawa, in Northern Jeypore, for hookahs of mixed metal (brass and zinc) ; Bhilwara, in Meywar, for tinned brass platters and goblets; Jodhpore for lacquered and painted brass. Images in brass are generally made by the same persons who carve them in stone. Very few of any artistic merit are produced in these provinces. Musical instruments, the appliances for religious worship, such as shrines, censors, or spoons, chains and bells for bullocks, pierced plates for ornamenting palanquins, inkstands, syringes, and such like articles are made in large numbers. The following remarks on the brass and compound metal work shown at the Exhibition at J eypore are of interest:— ‘The turning and fitting of the School of Art (Jeypore) work was good, and the collection generally, in spite of a tendency to minuteness and excessive delicacy, to mere technical finish instead of characteristic design, was of great excellence and was awarded the first prize (silver medal). ‘ The second prize was given to an exceedingly well-made and truly-jointed brass box selected from a miscellaneous assortment of brass ware of different makers (made by Suraj Buksh, Jeypore. Bronze medal). ‘A large fine candelabrum, made for the Jeypore Church, by Shankar, in wrought brass, would bear comparison with the work of the ecclesiastical metal workers of London and Birmingham (silver medal). 2 The ancient mart of Western India. Report of the Jurors. c CHAPTER V. SILVER PLATE. LATE LXXIX. i. Drinking vessel, Chuski. Silver, chased and en¬ graved with mythological figures. The handle and spout are formed of animals. This vessel is like a miniature Nepalese teapot, but it is used in India by spirit drinkers, who are in the habit of constantly moist¬ ening the tongue from the spout with a drop or two of the potent contents of the vessel. 2. Sugar basin, supported on the fore parts of three elephants. Silver, chased and engraved with elephants and flowers. The spoon is ornamented with the head of an elephant carved on the front of the handle. Value 40 rs. 3. Cream jug, supported on three feet. Silver, engraved with a band of flowers. The handle is formed of a serpent upon which the god Krishna is seated. • This refers to the conquest of the great serpent Kali by the Hindu Apollo. Value 40 rs. The above were all made at the School of Art, Jeypore. Plate LXXX. i. Seven-sided silver tray. The shape and ornament of this salver are very original and beautiful. It is an old piece of plate, and was exhibited by Lala Kdsinath, the principal court jeweller and silversmith. Value 50 rs. 2. Circular salver with fluted border. Silver. Value 60 rs. (Exhibited by Lala Kasinath, of Jeypore.) Plate LXXXI. r. Octagonal betel box, Hasan¬ ddn. Parcel-gilt silver, pierced pattern. Made at Chabrah, a district of Tonk. (Lent by H.H. the Nawab of Tonk.) 2. Round betel box. Silver, parcel gilt, bold pierced pattern. Made at Sironj, a district of Tonk. (Lent by H.H. the Nawab of Tonk.) 3. Jointed fish-shaped collyrium holder. Silver, parcel gilt, with silver probe attached by a chain. Made in the Tonk State. (Lent by Sirdar Obedullah Khan, C.S.I., Prime Minister of Tonk.) The collyrium is antimony powder, surma, which is applied to the margins of the eyelids, partly with an idea that it protects against ophthalmia and the evil eye, but chiefly to increase the charms of the user. Plate LXXXI I. 1 and 5. Small phials for ’atr of roses. Silver, parcel gilt. 2 and 4. Rose-water sprinklers, Gulabosh. Silver parcel gilt. 3. Tray and cup for spices or betel and ’atr of roses. Silver, parcel gilt (All lent by H.H. the Nawab of Tonk.) Rose water is sprinkled about from such vessels as Nos. 2 and 4 on many occasions in Mahomedan houses. The small phials are used for preserving the ’atr of roses, which for ordinary purposes, how¬ ever, is mixed with sandal oil and other essences, with which every native gentleman anoints his guests when about to leave him. This custom is beneficial in keeping off mosquitoes. The oil should be applied to the chest of the person to be honoured, but in the case of Europeans is now usually poured on to a handkerchief, or, as at Hyderabad, a few drops of the precious fluid are given in a small phial. The presentation of pan and betel concludes the ceremony. Some pieces of betel nut ( supari ), a few cardamoms and cloves, with a little lime are wrapped in a betel leaf and handed to the guest. The tray No. 3 is for the folded betel leaves and their contents {pan supari), and in the cup above is a small quantity of cotton wool soaked in the fragrant oil. Plate LXXXIII. Silver, parcel gilt, bottle- holder, adapted from a French pattern. Made in the Tonk State. (Lent by Sirdar Obedullah Khan, C.S.I.) This is an example of the eagerness with which the Indian workman imitates foreign patterns—in short, gladly avails himself of anything which will save him the trouble and expense of making or obtaining a good native design. He is, moreover, certain to please his patron if a native, often if a European, by adopting a novel Parisian or Italian model. Plate LXXXIV. Octagonal parcel-gilt silver spice box, Hasanddn, with compartments and small inner boxes (three of which are shown) for spices. Made in the Tonk State. (Lent by H.H. the Nawab of Tonk.) Plate LXXXV. Round parcel-gilt silver spice box, Hasanddn, with compartments and inner boxes. Made in the Tonk State. (Lent by H.H. the Nawab of Tonk.) The boldness of the design and effective alter¬ nation of the two metals in the ornament are pecu¬ liarly applicable to the treatment of this kind of plate, and the result is certainly very effective. The ingredients of pan are kept separately in the different compartments. A small spoon for spreading the moistened lime is shown to the right of the plate. 24 INDUSTRIAL ART AT THE JEYPORE EXHIBITION . Plate LXXXVI. i. Silver parcel-gilt tray and cover, Khasddn, or cup-holder and cover. This serves, like an English dish cover, for pro¬ tecting solid or liquid food from flies. Made in the Perawa district, Tonk. 2. Silver parcel-gilt tray, with engraved pattern. Also shown in metal in Vol. I. Plate XVIII. 5. Made in the Chabrah district, Tonk. (Both lent by H.H. the Nawab of Tonk.) PLATE LXXXVI I. Silver parcel-gilt box and tray. Made at Surat. (Lent by H.E. the Viceroy of India.) This specimen differs only from the Tonk work in being of somewhat thinner metal. Plate LXXXVIII. Silver tray. Liligree work. Made at Delhi. The tray, though a large and well-made example of filigree work, could not find a purchaser because it was not strong enough to serve any useful purpose. Plate LXXXIX. i. Salver. Silver, repousse floral ornament. Made in Kutch. A good example of this well-known work. (Lent by H.E. the Viceroy of India.) 2. Silver betel box from Mandalay, Burmah. The outer box is pierced, but there is an inner one of solid metal. (Lent by H.E. the Viceroy of India.) PLATE XC. Double silver bowl. The outer one is pierced and enriched with figures. Value 350 rs. Artist, Moung Chwet Nee, Rangoon, British Burmah. Plate XCI. i. Small silver bowl with hammered ornament. Mythological figures in niches. Value 25 rs. Rangoon, British Burmah. 2. Elagon. Silver; outer bowl pierced, inner plain. Artist, Moung Chwet Nee, Rangoon, British Burmah. Value 150 rs. Plate XCI I. Silver coffee pot. Artist, Moung Pho Thet, British Burmah. (Lent by J. E. Elmes, Esq.) This is a magnificent example of Burmese art, and, like the great double bowl (Plate XC.), shows what the metal in the hands of the true artist is capable of. Great care is now taken in the Industrial School or Institute at Rangoon in fostering this art. Plate XCIII. Parcel-gilt silver plate. 1 and 3 made by Subhana ; 2 made by Habibju ; both of the New Bazaar, Srinagar, Kashmir. 1. Flower holder. Cost 7 rs. 13 as. 2. Claret jug. Cost 98 rs. Weight of metal 71 rs. 4 as. 3. Salt cellar, Kang. Cost 7 rs. 15 as. The only Eastern pattern is the Kang, No. 3. The white frosted ground contrasted against the silver is remarkably effective. The serpent is a favourite form for handles in Kashmir work. Plate XCIV. Three-cornered silver tray. Silver, parcel gilt, from Kashmir. (Lent by Mr. Zwet, of Kiev, Russia.) Chiefly remarkable for the very elaborate ornament. Plate XCV. i. Parcel-gilt silver mug. Cone pattern. Weight 15 rs. 8 as. ; value 21 rs. 15 as. Habibju, Kashmir. 2. Water bottle, Surahi. Silver-frosted ; pome¬ granate pattern. Value 84 rs. 9 as. Made by Sub¬ hana, Kashmir. 3. Flower vase. Silver, parcel gilt. Weight 21 rs. 4 as.; value 29 rs. 3 as. 6 p. Habibju, Kashmir. Plate XCVI. Silver parcel-gilt plate. 1. Sugar basin, Kang. Yarkand pattern. Weight 39 rs. ; value 53 rs. 10 as. Habibju, Kashmir. 2. Claret jug. Value 84 rs. 9 as. Subhana, Kashmir. 3. Milk jug. Rose pattern. Weight 18 rs. 12 as. ; value 25 rs. 12 as. 6 p. Habibju, Kashmir. Plate XCVII. Parcel-gilt silver plate from Kashmir. 1. Teapot. 2. Coffee pot. Yarkand shape. 3. Cream jug. (Lent by Mr. Zwet, of Kiev, Russia.) Plate XCVIII. Parcel-gilt silver plate. 1. Tumbler or cup. Badakshan shape. Value 18 rs. Habibju, Kashmir. 2. Parsee Lotah, or water vessel. Value 29 rs. 10 as. Subhana, Kashmir. 3. Cream jug. Fluted pattern. Weight 14 rs. 12 as.; value 20 rs. 4 as. 6 p. Habibju, Kashmir. Plate XCIX. Parcel-gilt silver plate from Kashmir. 1. Wire salt cellar. The bowl is parcel gilt in¬ side. Shaped like a kangri, or chafing vessel, which is made of clay and basket work to contain hot char¬ coal. The Kashmiri carries a vessel thus filled during the greater part of the year, and warms himself by holding it under his outer cloak, which is very long. The people were, it is said, compelled by their Moghul conquerors to wear this somewhat feminine garment to impede their movements and so to render them effeminate. Value 8 rs. 2 as. Subhana. 2. Cream jug. Weight 10 rs. 10 as. ; value 14 rs. 10 as. Habibju. 3. Rose-water sprinkler, Gulabposh. Value 34 rs. 2 as. Messrs. Davee Sahai and Prab Dyal, Amritsar. 4. Water vessel, Tobi or Abkhora. Value 27 rs. 9 as. Subhana. 5. Water bottle, Surahi. Value 16 rs. 4 as. Messrs. Davee Sahai and Prab Dyal, Amritsar. 6. Salt cellar, Kang} Silver. Value 6 rs. 12 as. Subhana. Plate C. i. Cup or tumbler. Silver and blue enamel. Value 30 rs. 12 as. Subhana, Srinagar, Kashmir. 2. Silver tumbler. Ground frosted. Pattern chased. Figures of Rajputs in oval panels. Bikanir, Rajputana. 1 The Kang is an earthenware vessel used in China for collecting rain water in. SILVER PLATE. 25 3. Silver tumbler. Ground burnished. Pattern engraved. Value 32 rs. Panna Lai, Ulwar. 4. Cup or tumbler. Silver niello. Raja pattern. Value 30 rs. Subhana, Kashmir. At the Jeypore Exhibition a considerable quantity of silver plate was shown. The jury awarded the first prize, for purely Indian work, to the collection from Tonk, in Rajputana, which they considered, ‘ on the whole, to be the best and most characteristic present.’ The reporter for the section adds that ‘ open-work caskets, 'airdans, and other articles, parcel gilt, were the favourite forms, and some of these were good in design as well as in execution.’ The Tonk plate was lent by H.H. the Nawab of Tonk and his Prime Minister, Sirdar Obedullah Khan, C.S.I. Most of the articles were such as are used by Mahornedan nobles, as, for example, a large centre piece, with numerous receptacles for perfumes, arranged as flower buds on a plant, and small heart-shaped boxes for spices on a tray (Plate XVII. Fig. 2, Vol. I.) ; a round salver, for holding the prepared betel, or pan (Plate XVIII. Fig. 5, Vol. I.); an ’ atrddn , or perfume stand (Plate XVIII. Fig. 3, Vol. I.); rose-water sprinklers ( gidabposh ) of various kinds (Plate LXXXII. Figs. 2 and 4, Vol. II.), and silver boxes of different patterns. Some of these pieces were of plain silver, embossed or pierced in bold floral or geometrical designs, but the majority were also parcel gilt, and the judicious and artistic manner in which the gold was employed greatly increased the beauty of the plate, and was well calculated to produce a rich effect in the conditions under which it is usually seen—namely, in a durbar or public assembly, where minute examination is impossible. It is not, however, intended to imply that the Tonk silver is not well finished, as this would be incorrect, especially as regards some of the smaller pieces, a few of which were beautifully executed, as, for example, a kiblandma , or Mahornedan compass, which was also partially enamelled, and some articulated fish-shaped phials— s^^rmadan^, or antimony holders (Plate LXXXI. Fig. 3, Vol. II.). There was none of the overloading of ornament so characteristic of much Indian, especially of Kashmir, work, and the forms of the different articles were simple and pleasing, well adapted for the ends they were to serve. The Tonk silver is made in three of the central India districts of that very scattered State— namely, in Chabrah, near Guna, in Pirawah, and in Sironj. The workmen, who from their names appear to be all Hindus and Sunars, or goldsmiths, by caste, are :— Baldeo . Kalu Bhairun Pirthi Ldlak Karori at Chabrah. A - at Pirawah. . at Sironj. The cost of manufacture for plain work is 4 annas per tola, and for ornamented and gilt plate from 1 r. 8 as. to 2 rs. per tola. In the Indian Museum in London there is a salver, in appearance very similar to the Tonk examples ; and of the same character are spice boxes, rose-water syringes for use at the Holi festival, and perfume holders made at the native capital of Indore. It is probable that this peculiar plate was originally manufactured in the Central Provinces, where, however, from the demand for it by Europeans, over-production has resulted in deterioration ; further, that the inaccessibility of the outlying districts of Tonk, where some of the goldsmiths reside, has preserved the original superiority. The patronage of a Mahornedan Court, preferring good work to undue haste, has possibly also had an important influence. It is noteworthy that many of the peculiar surface designs of this class of silver are also applied to sandal-wood boxes and other suitable articles at Rampur, in the Indore territory. vol. 1. e 26 INDUSTRIAL ART AT THE JEYPORE EXHIBITION. The Thakur of Bagru, one of the chief nobles of Jeypore, sent some contributions to the Exhibition of somewhat similar character. These were the work of a goldsmith living on his estate. A dn'cski , or drinking cup, with a cover ending in a spout, the jury considered to be admirably designed, and awarded it the second prize (Plate XXVI. 3, Vol. I.). Particular attention is drawn to this case, as it shows what an immense influence may be exerted by an enlightened patron, and explains the transference from one place to another of a particular art. A new and most interesting style of engraved silver plate has been developed at Ulwar. Nand Kishor, of the carpenter caste, studied at the school of engineering at Rurki, and being a man of much natural ability, attained to great proficiency in engraving and the allied arts. He introduced a new method of ornamenting burnished silver surfaces, with spirited figures of animals, birds, and insects in the midst of foliage (Plate XXVII. Vol. I. and Plate C. Fig. 3, Vol. II.). The fur and markings of the animals are imitated with great truthfulness, and the vegetation is also marvellously natural. The articles adorned are generally of European form, such as tea sets, snuff boxes, or card cases; and, no doubt, the natural treatment of the subjects, and a certain unsuitability of such fine engraving on silver for these purposes, are wrong in principle; yet we cannot but admire the skill and truthfulness with which the work is executed. Panna Lai and others are the chief artists at Ulwar, but Nand Kishor, 1 who is now in the service of the Jeypore Court, continues to produce good examples of the work, though spoiling its effect, in many instances, by the use of engine-turned border patterns. At the Jeypore School of Art, where Nand Kishor was long a teacher, silver plate of this kind is also manufactured, as well ab a small number of vessels enamelled in the same metal. A few of the forms exhibited under the section Metal Work, which were made for plating, are also executed in the precious metals, as, for example, a drinking cup, sugar basin, and cream jug (Plate LXXIX. Vol. II.). Baboo Opendro Nath Sen, principal of the school, will gladly execute orders, and will see that the hinges and other small though important points which the Hindu craftsman rarely pays attention to are properly finished. Amongst the illustrations will be found one of a tumbler of silver made at Bikanir, the capital of the desert State of the same name. The artist has engraved and chased spirited figures of Rajputs in panels upon a burnished and frosted ground. The work is very effective and quite suitable for the enrichment of silver plate, as it will wear well (Plate C. Pfig. 2, Vol. II.). The existence of this and some other sumptuary arts in so remote a province is due to its inaccessibility. Bikanir and the neighbouring countries have long been the homes of many of the rich marwaris, or bankers and traders who made their money in the great towns of Hindustan, but feared to display their wealth there in the lawless days of the later Mahomedan emperors and of the Mahrattas. They preferred to submit to the by no means light exactions of the desert chiefs, because they knew that they would never be carried so far as to drive them and their fellow-caste men to seek refuge elsewhere. The presence of such wealthy men of course implied support for artists of all kinds. Several illustrations are also given of silver articles contributed to the Exhibi¬ tion by Lala Kasinath, the principal dealer in plate and jewellery at Jeypore, or perhaps in Rajputana. Amongst them are an abkhora , or drinking vessel, covered with an embossed floral design (Plate XVIII. Fig. 2, Vol. I.), and a salver of silver niello in which the outlines of the engraved pattern are in black composition (Plate XVIII. Fig. 4, Vol. I.). In Plate LXXX. Figs. 1 and 2, Vol. II., are shown two beautiful examples of old plate. The outlay in producing plate of this kind is not great. The inferior specimens cost for workmanship two annas for each rupee in weight, and the finest from twelve annas to a rupee. As there are so many silversmiths in Jeypore and all the great native capitals, it would be useless 1 Nand Kishor, besides being a silversmith, is a mechanic of the highest order. He has frequently made surgical instruments and cutlery from drawings, which have proved as good as similar articles from Europe, and has repaired and kept in order the most complicated scientific apparatus, particularly the Van Rysselberghe Meteorograph at Jeypore, an instrument of the most delicate construction. SILVER PLATE. 2 7 to attempt to give names of individual workmen, but any of the great dealers in Kajputana, such as Kdsinath, may be trusted to supply good articles at a reasonable rate, provided and this point cannot be .too strongly urged—that they are not hurried. The objection to European patronage is the undue haste it requires from the workman. The one great drawback to the sale and production of Indian plate for the British market is the unsatisfactory state of the law on the subject, for not only is a high duty levied upon it as silver, but articles are liable, should they vary from the legal standard in any part—a by no means unusual circumstance, owing to the difficulties in casting an ingot of equal purity throughout—to be broken up at the Goldsmiths Hall in London when presented to be marked. It is to be recollected that they cannot be sold as silver plate with¬ out the mark of the Goldsmiths’ Company. Examples are given in Vol. II. of Kutch work (Plate LXXXIX. Fig. i), of Burmese silver (Plate LXXXIX. Fig. 2 to Plate XCIL), and of the well-known Kashmir work (from Plate XCIII. to C. Fig. 1). Some of the Burmese and Kashmir articles are in niello or enamel. The beautiful repoussi gold and silver plate of Kutch, Sir George Birdwood writes, is of Dutch origin, but is perfectly assimilated to the native style of the province. Mr. Griffiths, the principal of the Bombay School of Art, in his ‘ Catalogue of the Art Ware Contributions to the Calcutta International Exhibition of 1883-4,’ states that 3,500 gold and silver smiths find employment in Kutch, and that they themselves say that they took to working in gold a thousand years ago. Some of them, who are called Patnis, came from Pattan, in Gujerat, the seat of the far famed Balhara Raies, the lords paramount of Western India, with whom even the ancient nations of the far west had commercial relations. Mr. Griffiths adds that the outturn of silver ware for European use is from 5,000 rs. to 8,000 rs. a year, while for gold and silver ornaments for native use it reaches 4 to 5 lakhs of rupees. The cost of workmanship varies from 4 as. to 2 rs. for each tola of gold and from 1 a. to 8 as. for each tola or rupee weight of silver. Amongst the arms (Plate XIX. Fig. 6, Vol. II.) will be found the sheath of a battle axe blade ornamented in this way. This was probably the first or principal application of such work. There are colonies of Kutch silversmiths at Bombay, Poona, Ahmedabad, and Ahmed- nagar, and at Poona copper or brass vessels made in this style can be purchased for electro¬ plating. The massive Burmese plate obtained a special gold medal, equivalent to the first prize, at the Jeypore Exhibition. The jury considered that the Burmese display afforded ‘ most valuable sugges¬ tions for the right treatment of silver, so as to bring out the capabilities of the material in the most advantageous way.’ The boldness, fulness, and richness of the work, coupled with the delicacy of execution, were much admired. The massive bowls with hammered ornament of grotesque mythological figures and foliage in high relief, or with elegant pierced work, through which the plain inner bowl could be seen?were, perhaps, the finest examples from Burmah; but there were also some interesting specimens in a'different style, equally worthy of attention. Amongst these was the silver betel box from Mandalay, lent by H.E. the Viceroy of India (Plate LXXXIX. Fig. 2, Vol. II.). The outer of the two boxes of which it is composed is pierced and carved into such an elaborate design that it is difficult, without close inspection, to discover its nature. Some snuff or lime boxes were covered with equally intricate ornament, which at first sight may appear inappropriate and a waste of labour ; but there is something to be said in favour of the view that, as the owners of these articles always carry them about with them, they find a constant source of pleasure in studying the minuteness and fertility of the design and in discovering new beauties in it. The farther east we go the more this idea seems to have & actuated the artist, until in Japan we find an enormous amount of patient labour lavished upon even such trifles as coat buttons. The Kashmir silver work is so well known that little need be said about it. 1 he surface 28 INDUSTRIAL ART AT THE JEYPORE EXHIBITION. ornament is the great feature, and most of that is of Persian origin and very like to the decoration of the lacquer work, or so called papier mache, which is made in the Happy Valley and comes from the same source. The forms of the vessels are chiefly derived from neighbouring countries, and in the case of those of European origin are often far from being appropriate or beautiful. The men whose names are given in the list are dealers and not the actual artists. Subhana and Habibju have large stocks in Srinagar, but Messrs. Davee Sahai and Chamba Mull, Davee Sahai and Prab Dyal, at Amritsar, and Messrs. Hamilton and Co., of Calcutta, also deal largely in these articles. From time to time complaints have been made of false metal having been used in Kash¬ mir, but, as heavy fines have been inflicted by the Maharajd, much more care is now taken by the traders in the capital in keeping their work up to the standard. In giving orders it is always advisable to ask that the articles may be ‘double’ gilt. No. 1, Plate C., Vol. II., is an enamelled silver cup made in Kashmir. The colours are quiet and the work even and good, but the general effect is inferior to that of Multan or Bahawalpore. An example of the parcel-gilt silver of Kashmir is given in colour in Plate XXXII. i, Vol. I. Some ornaments and a vessel or two in silver niello were also sent from Kashmir, and a few boxes in the same style from Burmah. The former were somewhat coarse and ineffective, while the latter, though of good design, were not much liked by the general public. An illustration of a tray in silver niello with somewhat bolder ornament (Plate XVIII. Fig. 4, Vol. I.) is given to show that this style of silver work is also practised in the plains of India. It is impossible, without including jewellery, to give an idea of the amount of silver plate made in a year in Jeypore. A few notes may be added regarding the work produced by silversmiths for natives of India. Although the use of silver and gold vessels is discouraged by the tenets of the Mahomedan religion, in practice it will be found that wealthy persons of that faith in India have not been pre¬ vented from using them, and that most of the articles made for poorer persons in the baser metals have been, and are, constantly prepared in silver, or even gold, for those who are able to afford the expense, and in such cases, provided figures have not been employed, ornament of some kind is always desired. The Hindu, on the other hand, is only kept from using silver by considerations of cost, but he is content to have perfectly plain vessels, simple cups or bowls, polished only by use. The Hindu craftsman, however, lavishes much labour on the production of shrines for the temples, and especially of domestic images, and all the paraphernalia of Brahminical worship. Both Hindu and Mahomedan princes display their wealth in adorning their court furniture and the trappings and harness of their animals with the precious metals. Some of the finest surface patterns are found on the chobs or maces carried by peons, the pillar® that support State canopies or shamianahs, and the reins and other parts of the harness of horses. At the Jeypore Exhibition were displayed two large thrones of silver, camel saddle 0 covered with plates of the same metal, and some massive elephant trappings. All of thes c articles were highly ornamented with bold embossed work, and enriched where necessary w'^ 1 plating. It must be confessed, however, that in m^hy instances the noble metals are simply employed to indicate the wealth of their owner, and a* e consequently left to tell the story without any ornament whatever. The hookah and its appurtenances are > perhaps, the articles most elaborately adorned. They are always in use, and both Mahomedan an< -i Hindu like to have them as beautiful as they can be made. His Highness the Maharaja of IFypore possesses some very fine specimens of hookahs. One much admired at the Exhibition is effiched with figures of sportsmen, musicians, and animals, in panels (Plate CXI. Vol. III.). This pr* nce also possesses a characteristic pen case and inkstand (Plate XVII. Fig. 1, Vol. I.). Bedstead legs of silver are often present as P ar t °f the outfit of a bride ; and beautiful swing- ing cots, with chains composed of links and figures of solid silver, are sometimes made. Silver is even employed for door frames and braziers. It is also one of the seven metals which form, according to Hindus, the most desirable combi¬ nations for casting bells. In India the silversmith finds abundant and profitable employment, the more particularly because in times of difficulty his work is melted up, only to be done over again when his clients become once more prosperous. ?o INDUSTRIAL AR1 AT THE JEYPORE EXHIBITION. CHAPTER VI. KASHMIR WORK IN BASE METAL. LATE CL i. Small cup or salt cellar. Copper gilt and enamelled. Contributed by Messrs. Davee Sahai and Prab Dyal, Amritsar. Value 5 rs. 12 as. 2. One leaf of a book cover. Brass enamel. Value 24 rs. the pair. Lussoo, Srinagar, Kashmir. 3. Silver enamelled water vessel, Abkhora ; gilt inside. Value 29 rs. 12 as. Subhana, Srinagar, Kashmir. Plate CII. Three-cornered tray. Copper lac¬ quered. Value 8 rs. Lussoo, Srinagar, Kashmir. Plate CII I. Round tray. Brass lacquered. Value 16 rs. Lussoo, Srinagar, Kashmir. Plate CIV. 1. Water vessel, Jambu. Copper lacquered. Value 2 rs. 8 as. 2. Water bottle, Sitrahi , Badakshan shape. Brass lacquered. Value 5 rs. 3. Coffee pot. Copper lacquered. Value 5 rs. All made by Lassoo, Srinagar, Kashmir. Plate CV. i. Vase or goblet. Copper enamel, gilt. Value 12 rs. Habibju, Kashmir. 2. Water bottle, Surahi. Copper enamel, gilt. Value 10 rs. Messrs. Davee Sahai and Chuni Mull, Amritsar. 3. Kashmir drinking cup. Copper enamel, gilt. Subhana, Kashmir. Plate CVI. i. Sugar basin. Copper enamel, gilt. Bandarun pattern. Value 24 rs. Habibju, Kashmir. 2. Hooka. Copper enamel, gilt. Raja’s shawl pattern. Value 80 rs. Subhana, Kashmir. 3. Tea pot. Copper enamel, gilt. Weight 58 tolas. Value 29 rs. Habibju, Kashmir. Plate CVI I. 1. Water vessel with handles, Tobi. Copper enamel, gilt. Value 16 rs. Subhana, Srinagar, Kashmir. 2. A shrine. Copper enamel, gilt. Value 22 rs. Kashmir. 3. Sugar basin. Copper enamel, gilt. Value 17 rs. Habibju. Plate CVIII. Copper articles, gilt and enamel¬ led. 1. Goblet. Value 14 rs. 8 as. Habibju, Kashmir. 2. A round box with cover. Badakshan shape. Value 40 rs. Subhana, Kashmir. 3. Vase. Badakshan shape. Value 25 rs. Kashmir. 4. A vas e y Amritban. Value 15 rs. 12 as. Sub¬ hana. Plate CIX. Copper articles, gilt and enamel¬ led. 1. A tray. Value 8 rs. Messrs. Davee Sahai and Chuni Mull, Amritsar. 2. A tumbler. Value 13 rs. Messrs. Davee Sahai and Prab Dyal, Amritsar. 3. A butter pot and tray. Lotus pattern. Value 23 rs. 8 as. Habibju, Kashmir. Plate CX. i. Silver enamel-covered bowl. Value 50 rs. 12 as. Davee Sahai and Chamba Mul, Amritsar. 2. Copper tray, lacquered. Value 1 r. 4 as. Lussoo, Kashmir. 3. Tumbler. Copper, lacquered. Value 3 rs. 8 as. Lussoo, Kashmir. A full description of the articles illustrated in the first ten plates of the third volume of this work will be found in Mr. Kipling’s monograph on the brass and copper ware of the Punjab and Kashmir. 1 The paper forms the first number of the ‘ Journal of Indian Art.’ There are several forms of work peculiar to Kashmir, such as (1) the copper ware, (2) tinned copper and niello, (3) lacquered brass or copper, and (4) copper enamelled and gilt. The surface ornament in all is similar to that on the silver plate, and is of Persian origin, though new patterns, inspired by their surroundings, have been and are still introduced by the artists in the Happy Valley. The forms are also like those described under the last head, though occasionally 1 Published by Mr. Griggs, chromo-lithographer, Peckham, London, and sold by Mr. Bernard Quaritch, the well-known book agent, Piccadilly, London. KASHMIR WORK IN BASE METAL. 3i the work is done on a larger scale in the base metals and the forms of the local and Central Asian types of domestic vessels are imitated. The plain copper ware is intended for electroplating. The tinned copper ware, with the pattern in niello, has often been described as presenting the appearance of old silver which has been long buried. Sets of ash trays can be purchased each ornamented with one of the almost innumerable patterns of which a dozen examples are given in Vol. I. Plates XXX. and XXXI. The brass lacquered work is effective ; portions of the design are filled with red, green, 01 black composition, usually with good taste. The gilt and enamelled ware is very pleasing. It is durable and not dear. The colours are bright and some of the designs of the specimens sent to Jeypore were new and beautiful, the coloured leaves looking more like jewels than enamel. The vessels are all gilt inside. No. 2, Plate XXVI. Vol. I. is a water bottle, or surcthi, in this style. INDUSTRIAL ART AT THE JEYPORE EXHIBITION. 3 2 CHAPTER VII. HO O K A H S. LATE CXI. A hookah and its appur¬ tenances of silver. The pipe is covered with silver scales, and ends in a mouthpiece of solid silver. Round the bowl and fire receptacle are medallions with charming figures of female musicians and attendants in high relief. The stand is sup¬ ported by six female figures. (H.H. the Maharaja of Jeypore.) Plate CXII. Silver Jiookah with large base. The lower part is ornamented with tigers. The mouthpiece is carved and the pipe covered with silver scales. (H.H. the Maharaja of Jeypore.) Plate CXI 11 . Gold hookah , with chains enriched with red and green spinels. The cloth is green velvet embroidered with gold and studded with gems. (H.H. the Maharaja of Rewah.) Value 8,928 rs. Plate CXIV. Gold hookah and cloth. The chillam , or fire bowl, is enamelled. The cover, or chilhwiposh , is set with diamonds at the top and is Under the heading ‘ Silver Plate’ reference has been made to the prominent place taken by the hookah in Indian houses. It is always, in the home of a respectable and prosperous man, well finished, and even comparatively poor persons take much pride in possessing a good hookah. In Chirawa, a small town in Shekhawati, as well as in Jhunjhnu, the capital of the same dis¬ trict, the writer discovered several workmen whose hookahs are sold throughout Rajputana. Though of the plainest materials they were well and artistically finished and were warranted to last. Those made at Chirawa are of mixed metal with brass bands, the latter ornamented with simple engraved patterns. At Rewari, on the Ulwar border, similar hookahs are made, but only by a few persons, and at their death the art of making them will probably be lost, or at least lost to the towns mentioned, as, in common with the universal custom of the East, the workmen will only teach their art to their nearest relations, who in the present day, when a man is not compelled to follow the calling of his ancestors, may not care to practise it. After all, in this matter they only adopt a course which some of the most enlightened and able men in Europe have found necessary to preserve their rights. Thus, in the case of the well-known Bessemer bronze powder, the inventor has manufactured the article for many years without a patent in such a way that the processes he employs are known only to a few individuals whose interest it is to preserve the secret. The School of Art at Jeypore sent several well-executed silver-plated hookahs to the Exhibition. They were much admired and were speedily sold. A few illustrations are given in Vol. II. of sumptuous hookahs. The two belonging to H.H. the perforated below. The tongs and other implements are attached to it by three double chains, set with rubies, emeralds, and diamonds ; and the base, or hookah proper, is splendidly adorned with panels in enamel and precious stones. The necha , or long pipe, is enriched with beads and seed pearls, whilst the monal , or mouthpiece, is covered with gems backed by enamel. The pipe cover, or dastagi , and the girda, or cloth, are of embroidered velvet. Made at Delhi. (H.H. the Maharaja of Rewah.) Value 24,609 rs. 5 as. Plate CXV. Hookah. Silver enamelled. The base is ornamented with panels of flowers in white spinel on blue and green enamel. The chains, which hang in sets of three, to support the tongs and other implements, are enriched with spinels of different colours. The chillamposh , or cover, is pierced and enamelled. The necha, or pipe, is embroidered with gold and pearls. The base is supported by elegant little kneeling figures. (Lent by H.H. the Maharaja of Rewah.) Value 10,390 rs. 6 as. HOOKAHS. Maharaja of Jeypore were of silver (Plates CXI. and CXII.). The first is perhaps the more artistic, the figures which adorned the panels of both bowl and fire receptacle being spirited and interesting studies of native life. The three remaining examples (Plates CXI 11 ., CXIV., and CXV.) came from Rewah, and were made for the late Raja, the head of the Baghela Rajputs, who ivas notorious for his love of everything connected with tobacco and the appliances for smoking it. The only point worth notice about the first specimen is the handsome cloth on which the hookah stands. These embroidered cloths are made at Delhi and Lucknow, and, when aniline dyed with silk has not been used, are often beautiful and lasting. The gold jewelled and enamelled hookah which forms the subject of the second illustration (Plate CXIV.) was much admired at Jeypore, and certainly the artist has been most happy in the manner in which he has enhanced the beauty of his gems by setting them in panels of the purest and richest enamel. The tiger feet suggest that this magnificent piece of plate was owned by the chief of the Baghelas, or tiger’s whelps. Under the head ‘ Enamel ’ reference is made to the silver hookah, Plate CXV. 34 INDUSTRIAL ART AT THE JEYPORE EXHIBITION. CHAPTER VIII. ENAMEL ON METAL. ENAMEL ON GOLD. LATE CXVI. i. A small tray of gold, richly enamelled in different colours at the School of Art, Jeypore. Cost, with a small phial for essence of roses which was made to accompany it, 165 rs. 2. A gold enamelled salver. Made by Kishen Singh, Jeypore. This magnificent work, which was free from the blemishes that so often disfigure large pieces of enamel, took the first prize at the Exhibition. (Lent by J. Watson, Esq.) Plate CXVI I. Headstall, crupper, and strap of red velvet covered with enamelled plates of gold. Made at Jeypore within the last three years for ILH. the Maharaja of Jeypore. Plate CXVI 11 . 1. A spear point. Gold ena¬ melled and set with white spinels. 2. A spear spud with point damascened in gold. The top is of gold set with red and white spinels. 3. Spear-point, similar to No. 2. Lala Kasinath, Jeypore. Total value 3,000 rs. Plate CXIX. i and 3. A pair of earrings. Gold set with diamonds and pearls. Sugan Chand, Jeypore. Value 200 rs. 2. Forehead ornament, Bena. Gold set with dia¬ monds. This is worn at the hair parting. Kasinath, Jeypore. Value 5 ° rs. 4 and 5. A pair of earrings, Kdnbdla. Crescent¬ shaped hoops set with diamonds, from which hang fish-shaped pendants ornamented with clusters of pearls. Kasinath, Jeypore. Value 350 rs. The fish is the special ensign of the Kings of Lucknow, though it was granted by the Moghul emperors to many other chiefs, nobles, or pillars of the throne, as, for example, to the Rajas of Jeypore, for whom it was peculiarly appropriate, as their country is the ancient Hindu Matsyades, or the Land of the Fish. 6. Necklace with elegant pierced gold beads and plaques, on one side ornamented with designs in 1 When the gods and demons churned the sea of milk to produce the amrita , or immortal food, one of the demons succeeded in obtaining and eating a little, sufficient to immortalise a portion of his body. The sun and moon told the story, hence have been doomed to be pursued and Jeypore enamel, on the other with the quasi-enamel of Pertabgarh (one plaque is turned up in the illus¬ tration to show this work.) The peculiar shape of the plaques is derived from Central Asia {vide the ‘ Atlas des Etoffes, Bijoux, etc., de l’Asie Centrale,’ de Mons. Ujfalvy.). The shape of the beads is similar to those which, strung as the ponchi , form a common and ancient ornament worn on the arm by Hindu women of all classes. Necklaces of this kind are strung on silk and gold cords of varied and interesting design. Men and women may be seen in large numbers in all large bazaars threading beads and plaques in this way. The same people prepare the silk tassels and brace¬ lets, Rdkhi, which Hindus wear in the month of Sawan in honour of Krishna. 7 and 8. A pair of earrings. Gold enamelled and set with pearls and diamonds. Value 350 rs. Sugan Chand, Jeypore. 9. A charm, Nauratan, Nava-ratna , generally worn on the upper arm attached to a silk cord. The ornament is set with nine different kinds of gems, which are said to represent the seven planets and the ascending and descending nodes. 1 These are as follow : the pearl, ruby, topaz, diamond, emerald, coral, sapphire, and cat’s eye, gomeda (zircon). Kasi¬ nath, Jeypore. 10. Thumb ring, Arsi. In the centre is a small mirror, which is surrounded with gems. Most Indian women wear this ornament, and by its aid are able at all times to see that their tresses are in order. Kasinath, Jeypore. 11. A necklace formed of plaques of enamel on gold strung on silk. On one side of each in Hindu characters are inscribed the words * Sri-nath-ji,’ or an invocation to the form of Krishna as worshipped at Nathdwara, in Meywar, or Oodeypore, a shrine of much note in Rajputana, and on the other im¬ pressions of the feet of the same god are supposed to be represented. Value 210 rs. Kasinath, Jeypore. devoured by their enemy. This is the popular Hindu idea of the causation of eclipses, and their custom is to yell and cry out on these occasions, to induce Rdhu, the demon, to release his foe. I ENAMEL ON METAL. 35 The art of enamelling' on metal is successfully practised in many parts of India, but it is universally acknowledged that the best work on gold is produced at Jeypore, in Rajputana. The colours employed rival the tints of the rainbow in purity and brilliancy, and they are laid on the gold by the Jeypore artists with such exquisite taste that there is never a want of harmony ; even when jewels are also used they serve but to enhance the beauty of the enamel. The enamels of Europe and of Persia are poor and lustreless in comparison with those of Jeypore, and in none of them is the fiery red, for which the latter is so remarkable, at all approached. At Jeypore enamelling is done on gold, silver, and copper, but it is in works in the most precious metal alone that it has secured the pre-eminence. The following are the principal places at which the art is practised in India :— On Copper. Kashmir. Many places in the Punjab. Jeypore. On Gold. On Silver. J eypore. Multan. Ulwar. Bahawalpore. Delhi. Kashmir. Benares. Kangra. Kulu. Lahore. Hyderabad, Sind. Kurachi, Sind. Abbotabad. Nurpur. Lucknow. Cutch. J eypore. And by individual workmen at other places. Q UASP-ENAMELS. Pertabgarh. Rutlam. The special province of this article is to describe the enamel manufactured in the native States of India, and to compare it with the work executed elsewhere. Labarte, in his ‘ Handbook of the Arts of the Middle Ages,’ endeavours to prove that the art of enamelling originated in Phoenicia, and thence found its way into Persia, where it was known in the reign of Chosroes ( a . d . 531 to 579). The Greeks and Indians, in their turn, he thinks, acquired the art from the Persians. He. however, mentions that Mons. Panthier, in his ‘ Histoire de la Chine,’ quotes a document, in which it is stated that a merchant of Yotietchi, or Scythia, introduced the art of making glass of different colours into China, in the reign of Thaiwonti ( a . d . 422 to 451). We may therefore justly conclude that enamelling, which is only a branch of the art of vitrifi- cation, was known at an early period, if it did not originate, in Scythia, the home of the Turanians. In the Boulak Museum, at Cairo, some of the jewels of the Queen Aahhotep (wife of Aahmes I. of the 18th Dynasty), who lived about b.c. 1700, are ornamented with blue glass and a species of cloisonnd enamel. These facts seem to indicate a Turanian origin of the art, and there are many points connected with its practice in India which would appear to confirm the theory. It is remarkable that the best enamellers in Europe have been the Etruscan P lorentines, and in modern India the Sikhs, both, it has been said, of Turanian descent. The most ancient specimen of Indian enamel now in existence is probably the crutch staff of Maharaja Man Singh, of Jeypore, one of the greatest of the chiefs who adorned the Court of Akbar at the close of the sixteenth century. f 2 ft INDUSTRIAL ART AT THE JEYPORE EXHIBITION . This staff, upon which the Mahdraja leaned when standing before the throne of the Emperor, is fifty-two inches in length, and is composed of thirty-three cylinders of gold arranged on a central core of strong copper, the whole being surmounted by a crutch of light green jade set with gems. Each of the thirty-two upper cylinders is painted in enamel with figures of animals, landscapes, and flowers. The figures are boldly and carefully drawn by one who had evidently studied in the school of Nature; the colours are wonderfully pure and brilliant, and the work is executed with more skill and evenness than in enamel made at the present day. A large plate, one of the Prince of Wales’s Indian presents, lately shown at the South Kensington Museum, proves the truth of this remark, as it will be at once observed that its colours are often of unequal depth and that there are blotches here and there which much impair its beauty. This, to some extent, however, may be due to the great number of colours attempted and to the unusually large size of the piece. Both ancient and modern Persian enamels are more subdued in tone and more elaborately ornamented than this splendid specimen of ancient art, which is decidedly Turanian in the boldness of its design, in the nature of some of the subjects, as, for example, the lotus flowers and leaves, and in the daring manner in which the primary colours are employed to produce a harmonious whole. We must also recollect that the owner of this most venerable piece of enamel was one of the pillars of the throne of a true Turanian sovereign—a most munificent patron of the arts, alike of his new home in India and of his ancestral dominions in Central Asia—that he had himself governed the kingdom of Cabul, and that other works of art—for example, a number of carpets, still in existence at Jeypore—were brought by him from the North, and are decidedly Turanian in design. 1 In many of these carpets the Tartar cloud and lotus are prominent features. So it is also with some of the wall decoration of the Jeypore palaces of this period. It is thus clear that at the time of the production of the earliest known specimen of Indian enamel Turanian art was in the ascendant. Maharaja Man Singh is stated to have brought five Sikh enamel workers from Lahore, and the fact that the descendants of these men still procure their colours from that town to carry on the trade of their forefathers confirms that tradition. The principal enamellers in Jeypore, ail descended from these Sikhs, are as follow :— Hari Sin u\\ o Amar Singh . Kishan Singh Ghuma Singh Sham Singh . Gheesa Singh Amba Singh . Gokal Har Sookh Singh -descended from Zorawar Singh. ) Jawahir Singh. Sookha Singh. Bhairun Si QCrh o Unknown. The fifth family is extinct. Hari Singh and Kishan Singh are considered the best artists, and to the latter was awarded the first prize at the late Jeypore Exhibition. 1 In the Ain-i-Akbari, or Institutes of Akbar, by Abul Fazl, there is an interesting note under the head Minakar, or Enameller. He is said to ‘enamel cups, flagons, and rings ; he first lays on the colour, and after enamelling puts the metal into the fire two or three times. For a tola of gold that he enamels he charges 16 dams (two-fifths of a rupee), and for a tola of silver 7 dams.’ These were probably the prices paid for inferior work. Nothing is mentioned with regard to the history of enamelling and allied arts, but it is stated that Akbar did his utmost to attract the best artists from all parts of the world. 37 The enamellers rarely work directly for the public, but execute orders for the rich jewellers, who usually send them the article to be enamelled ready for the process. Enamelling or painting on metals with mineral oxides—in such a manner that the colours are fixed upon or adhere to the metal—is done in several ways. That by encrustation is the Oriental method. There are two kinds of encrusted enamels—the cloisonnd or filagree enamel, and the champ- levd, in which the outline is formed by the plate itself, while the colours are placed in depressions hollowed out of the metal to receive them and are made to adhere by fire. The design is prepared by the chitera, or artist, generally a servant of the master jeweller, who also keeps books of patterns, some of great age, from which customers can make a selection, generally with a very good idea of the result to be obtained in metal, as may be judged from the coloured illustrations in the first volume of this work. The sunar, or goldsmith, then forms the article to be enamelled, and afterwards passes it on to the ghurai , the chaser or engraver, who engraves the pattern. These men are not Sikhs, but ordinary members of the goldsmith or carpenter sub-castes of Hindus. I he engraving is done with steel styles, and the polishing is completed with similar tools and agates. The surface of the pits in the gold is ornamented with hatchings, which serve not only to make the enamel adhere firmly, but to increase the play of light and shade through the transparent colours. The enameller or nnnakar now applies the colours in the order of theii hardness, or power of resisting fire, beginning with the hardest. Before the enamel is applied the suiface of the ornament is carefully burnished and cleansed. The colours are obtained in opaque vitreous masses from Lahore, where they are prepared by Mahomedan manihars , or bracelet makers. The Jeypore workmen state that they cannot make the colours themselves. The base of each colour is vitreous, and the colouring matter is the oxide of a metal, such as cobalt or iron. Large quantities of cobalt are obtained from Bhagore, near Khetri, the chief town of a tributary state of Jeypore, and are used in producing the beautiful blue enamel. All the colours known can be applied to gold. Black, green, blue, dark yellow, orange, pink, and a peculiar salmon colour can be used with silver. Copper only admits of the employment of white, black, and pink, and even of these the last is made to adhere with difficulty (this applies to Jeypore copper enamels). In the order of hardness and of application to the metals the colours are as follow : white, blue, green, black, red. The pure ruby red is the most fugitive, and it is only the most experienced workmen who can bring out its beauties. Moreover the Jeypore artist alone succeeds in giving the transparent lustre to this colour which so charmed and surprised the jurois of the earliest great international European exhibitions. The enamel workers at Ulwar, an offshoot from Jeypore, are sometimes fairly successful, but the Delhi jewellers, who turn out a great deal ot inferior enamel, only produce a red with an orange or yellow tinge. The Jeypore artist is renowned not only for the purity of his colours, but for the evenness with which they are applied—though here he, too, does not equal the early enamellers in skill ; partly, perhaps, because of the haste with which everything is wanted in the present day, but chiefly owing in important works, to the great sizes now attempted. The mediaeval workmen rarely undertook such large specimens, but generally built up any considerable piece by uniting many smaller ones. The enameller, as before mentioned, begins with the whites, and usually burns in each colour separately, though two or more may be fixed at one firing.^ The colour is pulverised and made into a paste, which is applied with a probe. As soon as a sufficient number of pieces o the same colour are ready, the furnace—a very primitive construction of clay—is charged wit 1 charcoal of fine quality, and made hot. The ornaments are put on a piece of talc ever the glowing fire, and the heat is maintained at such a degree, and for such a time, as experience lias proved to be requisite for fixing the particular colour. .... r . , , The piece is next polished with kiifund, or corundum, and if after this any defect in the enamel INDUSTRIAL ART AT THE JEYPORE EXHIBITION. should appear the work is done over again. The ornament, after polishing, is heated gently, and cleansed by rapidly immersing it in a strong acid solution made from fruit. Each colour—or group of colours in some cases—requires similar care, and, as large specimens may have to be fired as many as eighteen times, it is evident that the cost of enamelling must always be heavy, and that really good pieces can never be prepared hastily. The enameller always works in his own home, and is assisted by most of his family. For example, in the house of Kishan Singh the father works in a room on the ground floor, to enable him to watch the furnace, which from time to time is fed by the women of the family, who carry on their domestic occupations in the central courtyard ; his sons and grandsons sit in a small hut on the roof, painting the enamel colours on to ornaments of all kinds, ranging, in the case of the sons, from elaborate plates—to small lockets and similar articles, upon which the youngest children, of seven or eight, are trying their powers. Each artist sits on the ground before a low stool, in front of which are ranged his moistened colours, in a pallet made of a row of depressions in a long piece of brass. His dry colours, tools, and other appliances are also placed on the stool. Rare old designs, valuable ornaments and pigments, are tied up in dirty rags, and kept in niches in the walls of the rooms. A strong carved door shuts off the house and its occupants from the street, and serves to keep out thieves and too curious visitors. Such are the conditions under which most art work is executed in India. If the process of firing is done immediately after each colour is applied, the ornament, if of the ordinary character, can be enamelled and set with gems at the rate of about three or four days for each tola, or one rupee weight; thus, for example, a bracelet of five tolas weight would take from fifteen to twenty days for completion. The cost varies, according to the number of colours, from two to five rupees for each tola in weight of gold. Large pieces cost more in proportion. The total annual sale of enamel in Jeypore is about 20,000 rupees, of which, perhaps, a third may be for Europeans. It has been frequently stated that the manufacture of enamel is a royal monopoly at Jeypore. This is incorrect. When work has to be done for the Court, all other orders are put aside until its completion ; but beyond this there is no restriction—not even a tax upon the manufacture. It is a case of the largest and most important purchaser having the first claim ; and it is simply owing to the liberal patronage of the Jeypore princes, especially at times of unusual distress or scarcity of money amongst the ordinary purchasers, that the enamellers, like so many other art workmen, have been able for so long a period to remain at their capital. The uses to which enamel is put are very varied. All the better kinds of native jewellery are enamelled on the back, and usually, also, on the edges and between the gems in front. Charms, armlets, anklets, or bangles, and necklaces, are made in large numbers ; and for the use of princes and nobles the handles of swords, of daggers, of chowries, of fans or of umbrellas, of whisks of yak-tails, peacocks’ feathers, or ivory threads, and sometimes vessels are prepared. Horse, camel, and elephant trappings have also been adorned with gold enamel; in short, where gold and jewels can be employed for enriching metallic surfaces enamel is equally available, and with precious stones it can also be used as a foil, or to enhance their beauty. A magnificent collection of Jeypore enamels, which was presented by H.H. the late Maharaja of Jeypore to H.R. H. the Prince of Wales, was for some time exhibited in the Indian Section of the South Kensington Museum. The following list is taken from the catalogue of the Jeypore Exhibition of 18S3 ; it will give an idea of the style and cost of articles made for Europeans :— Bracelet, crocodile pattern ........ „ oval in cross section ....... „ plaques of Jeypore enamel, with Pertabgarh work on the backs of each „ set with diamonds , ENAMEL ON METAL. 39 Rs. as. P- Rs. as. p- ’Atrdan (perfume holder) and tray (a large piece). - . — — 490 O 0 Ditto, smaller ...... . — — 165 O 0 Fish ring, enamelled ..... . — — 6 8 0 Pair of earrings ...... . — — — 18 0 0 Lockets, mango-shaped, weighing from ^ a tola to 2^ tolas • 15 O O to 75 0 0 „ flat, English shape .... • 25 O O to 75 0 0 Necklaces, plain or set with gems .... . 210 0 0 to 1,200 0 0 Hair pin ....... . — — 10 0 0 Breast pin ....... . — — 12 0 0 Toothpick ....... . — — 7 0 0 Besides these, sleeve links, card cases, match boxes, whistles, jointed fish charms, scarf rings, and brooches are made. The most characteristic and inexpensive examples of the work are perhaps mango-shaped charms or lockets, which may be bought for from 25 to 35 rupees, and bracelets at about 95 to 150 rupees each. The kairi , or mango-shaped locket, is used by Hindus to contain scent, and by Mahomedans to hold a small compass to indicate the direction of Mecca. The bracelets are usually oval in section when made for Europeans, and are enamelled as carefully on the inner as on the outer surface. The ornament is always made hollow, and is filled up with a composition, composed ot two parts of alum and one of salt, pulverised together and heated with the specimen. The neck¬ laces are generally series of plaques united by chains or links of gold, and are reversible, the back being enriched with medallions of Pertabgarh or Rutlam enamels. Necklets or hdrs, rosaries, and watch chains of enamelled balls are also made. As the plaques used as brooches afford good surfaces for enamelling, the designs upon them are bolder than usual. Large cups and plates are occasionally made, and it is evident that the art may be applied to many other uses, such as the adornment of the cases of ladies’ watches, of small boxes, and of church plate. t All the above remarks relate to work on gold. The Jeypore jewellers have always maintained that, for good enamelling, only the pure metal can be employed. To a certain extent and for some colours this is correct, but fair results can be obtained on 22 or even on 18 carat gold, and no doubt for many small ornaments they adopt the lowest standard possible, and profit by so doing. Silver enamel of good quality is frequently made in Jeypore by Gooma Singh and at the School of Art, but its production is not much encouraged by the jewellers, and the men do not like to work in this metal, as the difficulties of fixing the colours and the risks are much greater than when gold is used. 1 There is some demand for false eyes for idols in enamel on copper, but, beyond this, little work is executed in that material. Unlike some of the champ lev 4 copper enamel of Limoges, the flesh of figures is always done in colour and not in gold. The Jeypore enamel is very different from that of Limoges, in which, moreover, the beautiful red hues are not attempted. The nearest approach to this colour in the excellent collection of the latter at the British Museum (London) is an orange red on the coat of a man standino- near the cross in a study of the crucifixion by Jean de Court, circa 1550. There are some good examples of enamel on the precious metals at the same museum—for example, the dagger of Hyder Ali (a.d. 1728-1782), given by him to Sir Hector Monro, K.C.B., the sheath mounts of which are fair specimens of Jeypore enamel on gold. Close to this is a dagger with ornament in Persian enamel. Traces of red enamel very similar to that of Jeypore are observable on a pair of snuffers made in Italy in the time of Henry VIII. for Cardinal Bainbridge; this is interesting as the work, in all probability, of Llorentines of Turanian descent. 1 A few pieces of old silver, Jeypore enamel, were exhibited at the Calcutta Exhibition of 1883 4. 40 INDUSTRIAL ART AT THE JEYPORE EXHIBITION. In the Jeweller} 7 Section of the Indian Museum at South Kensington there are many speci¬ mens of enamel on gold, as, for example— No. 03,003. Three coarsely-enamelled Nathdwara charms (a holy shrine in Rajputand). From Jeypore. No. 08,668. Dragon’s-head bracelet, labelled ‘ Bengal.’ Probably fair Jeypore gold enamel. No. 03,304. Necklace with gold enamel on the back. No. 3,400, section Arms and Armour, is a good specimen of Persian work on gold enamel sword mounts. As regards design, it is unquestionable that the modern Indian work is less artistic than the old. The boldness and character shown in the older examples have given place to elaborate repetitions of the Persian floral and geometrical ornament. The truth of these remarks is not only borne out by the illustrations which accompany this article, but was evident to the jurors at the Jeypore Exhibition, who had a good opportunity of comparing some fine old specimens, lent by Indian princes, with a large selection of modern examples of weapons and plate, such as hookahs and their appurtenances. Mr. Kipling, the official reporter for the Enamel Classes, writes that ‘ one or two articles of an older date in the loan collection, e.g. a dagger sheath from the Maharaja of Jeypore, were superior in tone and quality of colour to any new work shown.’ H.H. the Maharaja of Jhallavvar exhibited at Jeypore a dagger the gold sheath of which was beautifully decorated with Persian enamel in about twelve different colours. The superiority of the Indian work even to this charming example was unquestionable, and it was dependent upon the judicious use of pure primary colours harmonised as only the Indian artist knows how to do, instead of by employing a lower scale of tints. It has been observed that in England the art of enamelling has been greatly depressed and retarded by the considerable advantage the enameller derives from the discovery of any colour uncommonly brilliant, clear, or hard, as on this account the artist naturally endeavours to keep his process secret, as the source of private gain. This is equally true of India, but it is evident that to know how to produce certain colours is by no means the only cause of success, as in families using the same pigments, and, presumably, all equally well acquainted with the technical processes, one— as, for example, the father, in Kishan Singh’s household—may be a master workman, while his sons are only in the second or third rank. The power of producing a good pure red is the measure of the ability of the enameller. Mr. Baden Powell, in his excellent account of Indian enamelling in the ‘ Handbook of the Manufactures of the Punjab,’ has given formulae for making some of the enamel colours ; but, as little is known on the subject, and objections are made to disclosing what are really trade secrets, it has not been thought necessary to attempt to describe them here. Some fine silver enamel work was sent to the Jeypore Exhibition from Bahawalpur— Rs. as. p. A surahi, or water bottle . . . . . . . 85 8 9 A tumbler. . . . . . . . . 87 8 o A scent phial (‘atrdan) . . . . . . . 17 8 o An antimony holder (surmaddni ). . . . . . 16 5 11 All these articles were parcel-gilt silver enamel, coloured dark blue and emerald green. The patterns were chiefly conventional flowers in panels, scrolls, and geometrical diaper work. The general effect was rich and handsome. This work does not require frequent firing. It is probably of the same origin as the Multan enamel, which is stated by Mr. Baden Powell to have been first made there by one Naulu, 400 years ago. An illustration is given (Plate XIII. No. 3) of a portion of a bracelet from Multan. The colours generally employed are blue, black, yellow, and several shades of orange, brick-dust red, or pink. The articles manufactured are chiefly personal ornaments in silver, such as bracelets, necklaces, studs of various kinds, &c. The principal dealers are Vasu Ram and Khema Ram, who charge about 1 r. 4 as. to 2 rs. per tola for workmanship. ENAMEL ON METAL A few very cheap enamel ornaments of similar character were sent from Hyderabad in Sind to the Simla Exhibition of 1881. A good red colour was used effectively in some of them. The enamels from Kangra and Kulu, also applied to silver jewellery, are remarkable for the excellence of their blues and are often parcel gilt. Specimens from all these places are shown at the Indian Museum at South Kensington. The Rewah Durbar exhibited at Jeypore a magnificent silver-gilt and enamelled hookah, made at Lucknow by Lachhman Dds and Sham Lai, the blue and green enamelled grounds contrasted beautifully with the flowers of white spinel. There is also a fine hookah in the new Indian collection at South Kensington, in which yellow, brown, orange, and light blue tints are employed in addition to the dark blues and green ; the general effect, however, is poor, and not equal to a plate of similar work from Kashmir displayed in the same case. PER TABGARH ENAMELS. The so called green enamels made at Pertabgarh, a small town, the capital of a Hindu princi¬ pality in the Oodeypore or Meywar Political Agency, are not true enamels. The mode of preparation is kept most carefully secret by the two or three families who practise the art. The work is sold in the form of flat plaques of different shapes, which are afterwards utilised in many ways, either as separate ornaments or as backings for enamelled brooches or bracelets, which can thus be worn with either side outmost. The medallions are composed of green glass, upon which quaint patterns of figures, landscapes, and flowers are traced in gold. A piece of white foil with silver backing, termed ddnk, is placed behind the glass, and serves to give that peculiar lustre and depth of colour to the ground which is so much admired. In the absence of exact information, which it seems impossible to procure, it may be noted that native authorities state that the patterns are etched into the glass by means of a strong acid (pro¬ bably the hydrofluoric), and that the incisions are filled with very fine and pure powdered gold, which is made to adhere to the ground by exposing it first to a very high temperature in a furnace, and then to prolonged gentle heat in an oven. Some writers have thought that the figures are cut out of a piece of gold leaf, which is afterwaids applied to a layer of hot enamel. Neither of these explanations can be held to be peifectly satis¬ factory. There is a wall frame at the Indian Museum in London containing numerous specimens of this work (Nos. 9684, 9685, 9686, 9687 ; section Jewellery). In a large plaque at the Geological Museum in Jermyn street, London, the gold figures appeal so deep as to favour the view of their being cut out of a sheet of gold leaf. Jagan Nath and Nabh Chand—Hindus—are the principal makers at Pertabgarh. rutlAm ENAMEL. Rutlam quasi-enamel differs from the Pertabgarh work in the colour of the glass, which is blue. Rutlam is the chief town of a small State in the Central Indian Agency, not far from Pertab¬ garh. VOL. 1. 4 2 INDUSTRIAL ART AT THE JEYPORE EXHIBITION. CHAPTER IX. J EWELLERY. LATE CXX. i. Necklace of small oval gold plaques set with turquoises and pearl drops, all strung on silk. 2. Head ornament. Gold, diamonds, and pearls. 125 rs. 3. Turban ornament. Gold enamelled with pearl drops. 4. Necklace and pendant. Gold enamelled plaques set with diamonds and emeralds, and united by pearl chains. 5 and 6. A pair of earrings, Pipal patti. Pendants shaped like the pipal leaf. Diamonds and pearls. Value 200 rs. 7. Thumb ring with a mirror set in turquoises, Arsi. Value 30 rs. 8. Thumb ring set with diamonds. Value 75 rs. Kasinath, Jeypore. PLATE CXXI. i. Forehead ornament, Bena. 175 rs. Diamonds, pearls, and rubies. 2. Necklace of gold wire chains, enamel clasps, and pendant. The large stones are emeralds, the rest diamonds. 800 rs. 3 and 4. Pair of bracelets of gold chains, and diamond clasps set in gold and blue enamel. 700 rs. 5 and 6. Pair of ear ornaments with pearl chains and gold enamel pendants, Phi'd Jhumka. 150 rs. 7 and 8. Pair of diamond and pearl earrings. 75 rs. 9 and 10. A pair of earrings. Enamel and pearl. 11 and 12. A pair of earrings. Enamel with pearl pendants. Kasinath, Jeypore. Plate CXX 11. 1 and 2. A pair of bangles or anklets. 3. Necklace of pierced golden bells with alternate dog bells, also gold. All strung on silk. 225 rs. 4 and 5. A pair of bracelets with gold-pointed beads strung on silk. 6. Necklace of gold clasps and chains. 7. Necklace of gold balls, Hdr. 210 rs. 8. Torque, or collar, of gold. Hollow. 100 rs. 9. Pendants for the arm, of gold grapes. 250 rs. 10 and 11. A pair of gold bangles. 12 and 13. Bracelets of gold balls strung on silk. 14. Arm ornament of red gold with bead tassels. Plate CXXIII. Silver jewellery. 1. A set of toe rings with connecting bands. All ornaments with grape-like drops, Paezeb. Back view. 2. Front view of No. 1. 16 rs. the pair. 3. A pair of bracelets with hollow oblong beads strung on silk, Ponchi or Pahunchi. 16 rs. the pair. 4. A pair of bracelets, in which the beads differ slightly from No. 3. 16 rs. the pair. 5. Chain anklet or bangle, Maraithi. 6. Bangle or anklet. 70 rs. a pair. 7. Necklace. 60 rs. Kasinath, Jeypore. PLATE CXXIV. Silver jewellery. 1. Bangle or anklet, Paezeb. Composed of inter¬ lacing links and grape-like drops. 160 rs. the pair. 2. Necklace with pendant. 11 rs. 3. Necklace, a combination of the panchmunia and a diaper pattern. The panchmunia is made up of five balls, which represent the blossom of the babul ( Acacia arabica ) tree. These balls are usually united in sets of five, and are worn in gold or silver by women of all classes in Western India. This ornament, which was made at the Jeypore Jail, took the first prize at the Exhi¬ bition. 4. Armlet, Bazn. This is a very favourite orna¬ ment among all classes. It is worn on the upper arm. 26 rs. the pair. 5. Pair of anklets, Maraithi or Sankla. 18 rs. the pair. All except No. 3 exhibited by Lala Kasinath, Jeypore. Plate CXXV. Silver Jewellery. 1. Ornament for the head and ears, Phuljhumka. The broad pieces pass over the sides of the head, so that the pendants may hang down near the ears. 20 rs. 2 and 3. Earrings, Phuljlnanka. 16 rs. the pair. 4. Necklace with pendant of grape-like drops. 5. Bracelet with clusters of grape like drops, Giigridar Bangri. 6. Bracelet with pendant, Bangri. 18 rs. 7. Necklace with pendant containing a miniature painting made at Delhi. 40 rs. 8. Bracelet composed of six balls of grape-like drops, Nogri. 22 rs. 9. Hollow bracelet, engraved and pierced, Neuri. 6 rs. Exhibited by Lala Kasinath, Jeypore. The forms of Indian jewellery are almost endless ; it has therefore been impossible to repro¬ duce more than a few of the most characteristic examples. The prices given in the list are of little value, as so much depends upon whether the ornament is solid or hollow, engraved or plain, and so on. The Jeypore charges vary from 2 annas to 8 annas for each tola, or one rupee in weight of silver, and from 4 annas to 2 rupees per tola of gold. The most ancient forms of jewellery are worn by the lower classes, and are made in base metal. As these ornaments have little intrinsic value they often descend from mother to daughter through many generations, especially amongst the ‘ Brinjaras,’ or wandering grain-carriers. The oldest coins in circulation are for the same reason of copper and brass. The antiquity of the designs will be readily seen by comparing them with the ornaments carved on the statues in ancient temples. A large collection of such peasant jewellery has been brought together in the Jeypore Museum, and comparison of many of the most beautiful and archaic specimens with the ornaments of a series of old images of Chohan times obtained at Sambhur, now in the same institution, would prove the truth of the foregoing remarks. The value of such collections is, therefore, inestimable. The Indian languages are peculiarly rich in names for jewellery, the possession of which is perhaps, the principal happiness of the women and the most common topic of conversation amongst both sexes. As ornaments are used quite as much for their intrinsic value as for their beauty, they are. frequently made extremely heavy, and are worn in every possible position and in the utmost profusion. Moreover, as the savings of the people in prosperous times are put on their persons, only to be melted up in years of scarcity, or when the owner becomes poor, there is always abundant employ¬ ment for the jeweller. The temples, being less influenced by these causes, often contain beautiful examples of ancient workmanship. Long lists of Indian jewellery will be found in the second volume of the Report of the Lahore Exhibition, compiled by Mr. Baden Powell, and of Mussulmans alone in the Kanun-i-Islam, by Shareef. SUMPTUOUS JEWELLERY. Plate CXXVI. Crown, Mookat , belonging to H.H. the Maharaja of Rewah. At the rim is a band of table diamonds. The dome is of gold enamel and is ornamented with bands of pearls. In front are seven leaves of diamonds with edges set with pearls. A krit , or forehead ornament, set with large diamonds and five emerald pendants springs from the front, and a coif of pearls hangs in rear. The aigrette is of silver and gold thread. The dome is of enamel. The stones are set in enamel and backed by foil. There is also a row of diamond drops in front, the one in the centre, which is cylindrical, being worth 6,000 rs. Total value 1,36,996 rs. 4 as. 2. A forehead ornament, Sirpech, of gold set with cut rubies, with pearl and ruby cords. Backing, Delhi gold enamel. (H.H. the Maharaja of Rewah.) Value 4 . 2 5 ° rs - 3. Bracelet enamelled and set with diamonds: A pair of these, two armlets, and two rings are valued at 50 rs. (H.H. the Mahardja of Rewah.) PLATE CXXVI I. 1. Rdjpat. Crown with hand¬ some krit , or front ornament, of leaflets of diamonds with emerald pendants, and a central large ruby. Below it is a plaque in which is set a beautiful sapphire, worth 20,000 rs., cut into the form of the god Chatarbhuj, the four-armed Vishnu. On either side are sprays of small diamonds, and there are also seven crescents of diamonds surrounded by circles. From the rim, which is composed of large diamonds and pearls backed by foil, are suspended large oval pearls. The plume is of blue threads. Value 91,319 rs. 9 as. 2 and 3. Diamond rings referred to under No. 2, Plate CLXII. Flat-faced cut rose diamonds set a jour. (H.H. the Maharaja of Rewah.) Plate CXXVI 11 . Head dress, Pagri, with plume of diamonds. The cap is covered with pearls and diamonds, and there are numerous emerald drops. 53,000 rs. 2. Bazu, or armlet, set with diamonds. (H.H. the Maharaja of Rewah.) Plate CXXIX. i. Necklace of rubies and emeralds. Stones in the natural form, but polished The largest ruby has cut upon it in beautiful charac¬ ters three inscriptions as follow:—I, Akbar Shahi, 987 (a.d. 1580); 2, Sahib-i-Kiran Sani; 3, Shah Jehan Akbar. It therefore belonged to the famous emperors Akbar and Shah Jehan. This ruby is worth 12,000 rs. Total cost 18,000. 2. Necklace of emeralds, some cut and others with G 2 44 INDUSTRIAL ART AT THE JEYPORE EXHIBITION. only the natural facets polished. Some of the stones are arranged as buds in the midst of gold-enamelled leaves, and are set with diamonds. Good and bad stones are mixed together indifferently. Total value 40,000 rs. 3. Necklace of rubies, of which the largest is in an open setting of gold. It is worth 5,600 rs. and is inscribed, 1, Shah Jehan Akbar ; 2, Shah-i-alam Akbar Padshah. Total value 18,000 rs. 4. Plume of diamonds and pearls, Turah. 13,000 rs. Made in Calcutta. The Rewah crowns were made in the reign of the late chief of that State, but it will be noticed that the former history of some of the larger stones was known. Jewellery frequently changed hands in the last century, and in all probability many of the larger gems in these magnificent head ornaments belonged to the Moghul sovereigns of Delhi. Some of the rubies in the Rewah collec- tion we know, from the inscriptions engraved upon them, were formerly in the possession of the great emperors of that house. Most of the regalia of the Moghuls fell into the hands of Nadir Shah, the Persian conqueror, and what escaped him went either to the Rohilla—Abdalla—or to the Mahrattas. At U 1 war there is a large ruby worn in a b&zuband , or armlet, which bears Abdalla’s name ; but, wherever the gems may have been, provided they did not get into Europe—where they would probably be cut or recut—they were almost sure to find their way back to Delhi, the great central jewel mart of India. Most of the smaller diamonds in these ornaments are cut in a style that has not been adopted for many years past. They are tables with the edges facetted. In the larger stones the natural angles are merely polished, as little as possible of the surface being removed. In the diamonds facets are cut, as otherwise the peculiar properties of the gem would be lost, but in the rubies no attempt beyond polishing has been made to enhance their beauty. Emeralds fare little better. The author has seen a necklace of these stones of far greater value than those photographed in Plate CXXIX., in which the gems were strung on iron wire and only roughly polished, no attempt having been made to improve their appearance by cutting off the parts that were most flawed. Pearls seem to be the only gems an Indian thinks of selecting for beauty of form or purity of colour. Even these are frequently drilled in two opposite directions, so that they can be strung either as bracelets or necklaces. When worn on a single cord the cross openings are filled up by small seed pearls. The most valuable stones of all kinds are perforated and worn with others of little worth or no beauty. In fact, precious stones are chiefly prized because they represent so much money. The native of India, however, contrives to get the beauty and fire of gems out of mere scales with which his arms and jewellery are enriched, and does not think it necessary to employ valuable stones merely as ornaments. In the Mani-mala, a treatise on gems, by Raja Commander Sourindro Mohun Tagore, C.I.E., of Calcutta, will be found a most interesting and complete description of all matters bearing on this subject, including the supposed medicinal virtues of precious stones and the history of many famous specimens. Hindu princes rarely wear crowns at the present day, though in ancient times it appears to have been customary for them to have generally done so. The pagri, or headdress of folds of cloth, affords quite sufficient scope for the display of any amount of wealth, and has the merit of admitting a new arrangement of its ornaments from day to day. The three superb crowns of the Rewah chief approach in form those used by European sovereigns. The dome of the mookat , Plate CXXVII., is of gold, which was somewhat coarsely enamelled at Delhi. The setting of the gems is also enamel on gold, and red foil has been used as backing, especially in the forehead band. The largest diamond, which hangs from the front, is supported by several loops of silver wire. The foundation of the rdjpat , Plate CXXVII., is cloth. The ruby in the centre of the front ornament is very inferior, and is only made at all presentable by the red foil behind it. The pearl pendants are rough oval stones of large size, many of them having a green hue. The special feature is a sapphire carved into the form of the four-armed Vishnu. As the sapphire is held by Hindus to bring misfortune, the subjects of the Raja of Rewah looked upon his selection of such a large specimen for a state headdress as being most inauspicious. ’ The third Rewah crown, Plate CXXVIII., is, perhaps, the most pleasing of the three. The foundation is cloth and the gems are set in gold cord. The plume of diamonds, Plate CXXIX. 4, was made by Messrs. Hamilton and Co., of Calcutta, who with small stones have produced a iar greater effect than that attained by the makers of the much more valuable crowns. Three neck¬ laces of large rubies and emeralds are also shown in Plate CXXIX., to illustrate the remarks that have been already made on the subject of rudely polished gems. Several of the emeralds have been roughly grooved, but the rest of the stones might have been picked out of a stream, bored, and placed where they now are. Most Indian nobles possess strings of such stones and wear them without further preparation. The remaining examples in this section require little notice , the stones are all flat, with the settings inartistic, except, perhaps, Plate CXXVI. 3, the enamel bracelet with diamonds, which terminates in elephants’ heads. The sirpech is worn in front of the pagri , or turban. The back of the bazuband (Plate CXXVIII. 2) on the upper arm is richly enamelled, and it was to display this that the specimen was exhibited by the Ulwar State. v i 46 INDUSTRIAL ART AT THE JEYPORE EXHIBITION. CHAPTER X. IVORY CARVING AND INLAY. m ; ,LATE CXXX. 1. A Pushtkdr, or back-scratcher, of ivory, 1' 6\". The shaft is painted green, with a diaper pattern in gold. At the top is a red hand clasping a flower. 2. Whisp, Chanri, with flat leaves springing from a triangular stem, which is covered with a raised gold diaper pattern. A flower bud terminates either end of the shaft. 3. Whisp, Ckauri, with narrow flat leaves spring¬ ing from the cup-shaped top of the shaft, which is covered with raised figures, Chinese and European, on a green ground. 4. Pushtkdr, or back-scratcher, of ivory, 1' 6". Shaft ribbed. At one end is a red hand, on the other a carved flower with green foliage. (H.H. the Maha- rana of Oodeypore.) Plate CXXXI. i and 4. Two of four immense boar tusks. The largest was 18" round the curve and 6 V in circumference; the smallest ii|" by 3^". 2. An ivory mace, such as would be carried before a prince by the ckobddrs, or mace-bearers. They are usually silver-plated. 3. A carved elephant goad, Ankas , of ivory, Gota. The elephant goad is generally made of steel. At the Oodeypore Court a present of this article, hand¬ somely ornamented in gold, is commonly made to visitors of high rank. PLATE CXXX 11 . 1, 2, and 3. Ivory Bartanas, used to ease the pressure of the turban, or pugri. 4. Sceptre or crutch of ivory. 5. Rose carved in ivory. (Lent by H.H. the Maharana of Oodeypore.) PLATE CXXXIII. i. Powder flask, Hamancha, made of semi-transparent horn, with cap and ornaments of ivory. The cap is carved with a bouquet of flowers springing from a crocodile’s back. The tip is made up of one sea monster swallowing another, in whose mouth is the stopper. Round the neck are a number of ivory rings painted with a red pattern. The cord rings are carved into flowers. 2. Similar to No. 1, but the cord pieces rise from the backs of tortoises. (Jeypore Armoury.) PLATE CXXXIV. 1. Powder flask, Hamancha. Similar to Plate CXXXIII. No. 1. The top of the cap is shown. 2. Similar to No 1. The cord rings are dogs playing on the top of tortoises. The tip is a bold, splendidly carved elephant’s head with rings round the neck. 3. Similar to No. 1. Showing the top of the cap, on which is represented Shiva riding on his bull, or Nandi, with his wife, Parvati, on her tiger (given in colour, Vol. I.) (Jeypore Armoury.) PLATE CXXXV. i. Powder flask. Buffalo horn inlaid with ivory and mother-o’-pearl. Sita Ram, Etawah, near Kotah. (Shown in colour in Vol. I.) 2. Powder flask. Fish-shaped, similar to No. 1. PLATE CXXXVI. i. The top of an ivory casket made in China. (Lent by H.H. the Maharaja of Ulwar.) 2. Whisk, or Chauri. Said to contain five thousand threads of ivory. Made at Bhurtpore by Ragonath, a member of a family employed by H.H. the Maha¬ raja of Bhurtpore. Value 70 rs. 6 as. 6 p. PLATE CXXXV 1 I. Carved ivory pen box. Value 103 rs. (Contributed by H.H. the Maharaja of Patiala.) Carved ivory work-box. (Contributed by H.H. the Maharaja of Nabha.) PLATE CXXXVI 11 . 1. Carved ivory elephant, with howdah and seated figures, attended by four spearmen on a stand. (Lent by Maharani Surnamo- yee, of Kasimbazar.) Value about 45 rs. 2. Carved ivory bullock cart, Rath, with a pair of bullocks on a stand. (Lent by the Maharani of Kasimbazar.) Value about 20 rs. PLATE CXXXIX. Ivory carving. 1. The goddess Mahakali killing the demon Bhainsisur. She is supported by two attendants and her sons, Ganesha, God of Wisdom, and Kartikeya, God of War. Behind is a large ivory screen. 55 rs. Made by Lalvihari Mistri, Enatola Bagh, near Murshidabad. 2. Ivory, antimony holder, Surmadani. 2 rs. 8 as. Made at Patiala. 3. A pair of ivory bullocks, a plough, and plough¬ man. 15 rs. Lalvihari, Murshidabad. 4. Carved ivory walking-stick. Made near Mur¬ shidabad. (Lent by Dr. Shircore.) Obtained the first prize for ivory carving. PLATE CXL. i. Ivory cover, pierced into a fine pattern. Made at Ulwar. 2. Ivory antimony holder, Surmadani, ornamented with pearls. Made by Nand Kishor at Ulwar. 3. Carved ivory box. Made in China. IVORY CARVING AND INLAY. 47 Plate CXLVI. i. Lower part of wall bracket (Plate CXLV.) Ata, Mistri. 2. Picture frame. Wood inlaid with ivory. Workshops of Kaniya Lai and Rajmal, Hoshiarpur. Plate CXLVII. i. Box. Wood inlaid with ivory, with silver clamps. 16 rs. 2. A pair of bathing clogs. Ditto. 2 rs. 3. A box with a mirror inside. 13 rs. 4. A long walking-stick. 6 rs. Workshops of Kaniya Lai and Rajmal, Hoshiarpur. PLATE CXLVIII. i. Picture frame of buffalo horn, ornamented with ivory fret carving, which is united to it by ivory pins. 12 rs. 2. Watch and ring box. Tortoise shell with ivory fret carving, ivory clamps, and engraved pattern in black lines. 35 rs. 3. Watch box. 25 rs. Factory of Ganzula Chinna Virana—Vizagapatam. Plate CXLIX. Chest of drawers with cupboard. Sandal wood inlaid with ivory and wire in patterns of different kinds, usually called Bombay inlay. 125 rs. Sorabji—Bilimora, near Surat. Plate CL. A complete series (50) of patterns of Bombay inlay. Made by a workman in the employ of Messrs. Watson and Co., Esplanade, Bombay. 4. Bouquet of flowers and fruit, with birds on a stand. Made at Patiala. 5. Cup and cover of very thin ivory. 6. Turned ivory box, with sides minutely per¬ forated. Made at Ulwar. 7. 8, and 9. Small ivory toys. Made at Ulwar. (Lent by H.H. the Maharaja of Ulwar.) Plate CXLI. A cabinet of shisham (acacia) wood inlaid with ivory. Price 68 rs. Kuniya Lai, Hoshiarpur. Plate CXLI I. r. Mirror, with frame. Shisham , or acacia, wood inlaid with ivory. Price 30 rs. 2. A pen box of acacia ( shisham ) wood inlaid with ivory and brass. Price 7 rs. 3 and 4. Two rulers. Price 8 rs. each. Made in the workshops of Kaniya Lai and Rajmal, Ho¬ shiarpur. Plate CXLI 11 . A sideboard, A Imirah , (armoire ), of dark wood (acacia or shisham) inlaid with ivory. Cost 168 rs. Ata, Mistri, Hoshiarpur. PLATE CXLIV. Wall bracket and cups. Acacia wood inlaid with ivory. 60 rs. Workshops of Kaniya Lai and Rajmal, Hoshiarpur. PLATE CXLV. 1. Upper part of wall bracket. Acacia wood inlaid with ivory. Price, with stand, 33 rs. 12 as. Ata, Mistri, Hoshiarpur. With the exception of Travancore, most of the chief places at which ivory is carved sent specimens of their work to Jeypore. To Murshidabad and its vicinity the pre-eminence must be given. The best of the toys were contributed by the Maharani of Kasimbazar and Lalvihari, of Enatola Bagh, near Murshidabad> who manufactures them himself. Such articles hardly serve any useful purpose, and require the greatest care for their preservation. Lalvihari will, however, make sets of chessmen sufficiently strong for use. The stick contributed by Dr. Shircore (Plate CXXXIX. 5) is an excellent work of art, in which the design and workmanship are alike good. Major Cole, in his ‘ Notes on the Simla Exhibition of 1881,’ has pointed out how much Indian ivory carving is 1 to be admired for the elaboration of detail and for picturesque grouping ot animals and figures,' and * that the geometrical and foliated ornament is always first-rate. He thinks that the production of carved ivory suitable for furniture should be encouraged. H.H. the Maharaja of Karauli lent a chair which was made of ivory ; but, although great care had evidently been taken of it, many of the intricately carved plaques with which it was enriched were broken—a proof that in a hot and dry climate, except for small pieces, the material is not very suitable. The utmost difficulty is experienced in museums in preserving the collections of work in ivory, and especially in the case of fret carving or inlay where glue is employed. Solid caiving alone has any chance of remaining unhurt, and even that may crack if not kept undei glass. The farther to the East we go the more intricate and beautiful the work in ivory becomes. The best example at Jeypore was thought to be a Japanese box lent by H.H. the Maharaja of Jeypore ; and at the International Exhibition at Amsterdam were shown several elephants tusks of huge size, cut in Eastern Asia into a marvellous labyrinth of figures. No Indian work has ever approached these, but in Burmah and Assam dao or dagger handles are cut in the same style. . . . The contributions from Oodeypore, which have been photographed, perhaps owe their origin to Chinese inspiration if they are not Chinese altogether. Major Cole thinks many ot them show Dutch influence ; possibly they reached Oodeypore from the old Dutch factories at Surat, and, 4 S INDUSTRIAL ART AT THE JEYPORE EXHIBITION. if so, the Chinese connection is easily established. There are no artists in Oodeypore capable of such work at the present day, and, unfortunately, nothing is known there of their history. Of Indian carving, the powder flasks belonging to the Jeypore Court are by far the most interesting. (Plates CXXXI1 1 . and CXXXIV. and the Coloured Illustration, Plate XV., in Vol. I.) In these there is no excess of ornament, and colour has been judiciously employed to contrast with the beautiful purity of the ivory. A little figure carving is still done at Jeypore, and orders can be executed at the School of Art. Mairta, a town in Jodhpore, has been long celebrated for producing fans, toys, and such like small articles. The secret of producing the curious whisks, made also in sandal wood, one of which is shown in Plate CXXXVI., is preserved in the family of a servant of H.H. the Maharaja of Bhurtpore. Examples of limited production are given in Plate XVI. Vol. I. and CXXXV. Vol. III. These powder flasks are strong ; the design is good and the workmanship excellent. The same style of ornament can also be applied to boxes and other small articles. It is at present only made to order by the members of one or two families who reside at a remote village in Kotah, Rajputana. In Plate CXL. Vol. III. are given a number of minute objects which were made at Ulwar by, or under the inspiration of, Nand Kishor, now of Jeypore. It will be seen that most of the ornament is turned, but there is much good taste displayed in the way in which rows of pearls have been employed to enrich the antimony holder and tray. The large so-called ‘ bouquet holder' in the same plate came from Patiala. It is a clever though useless article, and it, as well as most of the work from the same State, was made by men who originally came from the neighbouring towns of Amritsar and Lahore, where a good deal of ivory is carved into small toilet boxes, combs, and such like articles. Plates CXLI. to CXLVII. Vol. III. are all illustrations of ivory inlay as applied especially to furniture at Hoshiarpur. The work is durable, well-finished, and is generally free from overloading of ornament. Sometimes a little colour is used, and also brass wire. This art has been much improved by Mr. Coldstream, C.S., lately Deputy Commissioner at Hoshidrpur. The following account of the Vizagapatam work (Plate CXLVIII. Vol. III.) is taken from Dr. Bidie’s catalogue of the articles sent from Madras to Calcutta in 1883 : ‘The collection is made chiefly of sandal wood inlaid with ivory fretwork, tortoise shell, horn, &c. The surface of the ivory is generally adorned with etchings in black of mythological figures very well executed, or with floral forms in light and shade, which are copies of European designs.’ Regarding the Bombay inlay (Plates CXLIX. and CL. Vol. III.) little need be said. Ivory and metal rods of different shapes are bound together by glue into different geometrical patterns and cut into thin discs, which are applied by inlaying to the surface of sandal wood or ebony. In Plate CL. Vol. III. all the ordinary designs are shown. WOOD CARVING AND INLAYING. Plate CLI. i. Box. Carved shisham (acacia) wood, from Indore. 2. Box. Sandal wood. Bound with silver clasps. Cost 50 rs. Patiala. S Rajputana is not a great wood-producing country, and stone is abundant, it is natural that most skill has been shown in working in the latter material. The designs in stone are equally well adapted, however, to wood, and there are not wanting carpenters who can produce good door frames and doors, but it must be confessed that the furniture of these provinces is neither artistic nor even strong nor well jointed. For wood carving the Punjab and Gujrat must be indented upon, and there are indications that this has long been the case in Rajputana. There are some old doors in the palaces at Amber which perhaps cannot be surpassed, but they are enriched with ivory and ebony in the style of the Bombay inlay, plainly indicating their origin. Occasionally a local carpenter will produce an extraordinary piece of work, remarkable more for ingenuity or eccentricity of construction than for good taste, but it will be generally found that he has chosen wood which is either quite unsuitable or too perishable to be worth all the labour he has expended upon it. MYNPURI WORK. Plate CLII. r. Salver of shisham (acacia) wood, inlaid with brass wire. (Tarkashi work.) Durga, Mistri, Mynpuri, N.W.P. (Lent by Surgeon-Major Lloyd.) Plate CLIII. Gobang table of shisham (acacia) wood, inlaid with brass wire. Durga, Mistri, Mynpuri, N.W.P. (Lent by Surgeon-Major Lloyd.) PLATE CLIV. Specimens of Tarkashi work, or wood inlaid with brass wire. 1. Stamp box. 2. Pen-holder. 3. Book rest. 4. Inkstand. Mynpuri, N.W.P. Plate CLV. i. Table of carved acacia {shisham) wood, inlaid with brass wire. Value 150 rs. 2. Bracket. Ditto. Value 20 rs. (Both lent by F. S. Growse, Esq., C.S., C.I.E., Bulandshahr.) Plate CLV 1 . Shrine. Shisham (acacia) wood, carved and inlaid with wire. (Lent by F. S. Growse, Esq., C.S., C.I.E.) Inlaying brass wire in grooves cut in a hard wood is practised to great perfection under the patronage of the Local Government at Mynpuri, in the North-West Provinces. The examples lent by Mr. Growse, C.I.E. (Plates CLV. and CLVI. Vol. III.) show that this interesting work may have a great future before it, if the wire ornamentation as applied to furniture is as judiciously and sparingly used as in these articles. A little oversight, and perhaps occasional advances of money, have enabled the best artists to avoid the rock on which so many workmen in India are wrecked-namely, the production of hastily finished and badly designed trifles, because they meet the demands of those who only care to secure a specimen of the industry, however worthless it may be. vol. 1. INDUSTRIAL ART AT THE JEYPORE EXHIBITION. CHAPTER XII. LACQUER WARE. LACQUER ON WOOD, &c. LATE CLVII. i. Model of a Kashmir state boat as used on the river Jhelum. Papier mache, lacquered and painted. Cost 4 rs. Safdar Moghul, Srinagar, Kashmir. 2 and 4. A pair of flower vases. Papier mache, lacquered and painted. Cost 5 rs. the pair. Srinagar, Kash¬ mir. 3. Elk-horn watch stand. Cost 45 rs. Gangula Chinna Virana, Vizagapatam. 5. A small box. Wood, lacquered and painted. Cost 8 as. Kamya Lai and Raj Mai, Hoshiarpur. PLATE CLVIII. 1. Tray on stand. Papier mache, painted and lacquered. 2. Tray, similar work to No. 1. Cost 3 rs. 8 as. 3 and 6. Two tiles. Painted and lacquered papier mache. 12 rs. each. 5. Box, similar to Nos. 3 and 6. Kashmir. 4. Box - . Shisham wood, inlaid with brass wire. Mynpuri, N.W.P. Plate CLIX. i and 3. Candlesticks. Incised lacquer on wood. 8 rs. the pair. 2. Water bottle. Incised lacquer on wood. 1 r. 8 as. Kaniya Lai and Raj Mai, Hosiharpur. Plate CLX. i. Box. Wood, lacquered and painted with figures and flowers. 7 rs. 2 and 3. Boxes with smaller ones inside. Incised lacquer on wood. 3 rs. 8 as. each. 4. Box. Variegated lacquer. 8 as. Kaniya Lai and Raj Mai, Hoshiarpur, Plate CLXI. Two large papier mache tiles. Sufdar Moghul, Srinagar, Kashmir. i I * 1 The platinotypes to illustrate this chapter are all of lacquer work from Kashmir and Hoshiarpur. An immense quantity of lacquer work on wood is made in Rajputana, but the specimens shown at the Jeypore Exhibition could not be well reproduced by photography. In Vol. I. will, however, be found some chromolithographs (Plate XIX. Nos. 3 and 4, and Plate XX. Nos. 2 and 3) of old Jeypore and modern Bikanir lacquer, which will give some idea of the style of manufacture which is popular in the provinces as well as in Malwa. In Plates XXX. and XXXI. in the same volume are given outline designs of Kashmir work as applied to tiles, and in Plate XIX. the two sides of a vase, also made in Kashmir, are shown, to enable an idea to be formed of the general effect of the papier mache of the Happy Valley. The Kashmir work is simply painting in water colour on ‘ mashed paper,’ or more frequently on wood, which is then protected by varnish. The designs are of Persian origin, but are not finished with the same care and artistic skill as was usual until lately in that country. There are several large halls in the palaces of the Maharaja at Srinagar which are entirely decorated with tiles or plaques of coarse papier mach6, but it cannot be said that on this large scale the effect is good. The Hoshiarpur work is remarkable chiefly for its metallic lustre. In Rajputdna the colours are applied in layers, and the designs are formed by scratching down to the different surfaces with edged tools as the article is turned on a lathe, one or more layers being cut through, according to whether one or other of the colours is to be exposed. The lacquer is made up into sticks, which are pressed against the article as it is turned in the lathe, the friction being sufficient to melt the colouring matter and to make it adhere. It is afterwards polished. Khandela, a town in Shekhawati, the northern portion of the State of Jeypore, is the great centre for lacquer work in Rdjputana. Here enormous quantities of wooden toys, which are painted 5i and lacquered, and small boxes of different colours and shapes are made; also bedstead legs, stands for water bottles, and many domestic articles for which in a dry and hot climate lacquer is much more suitable than paint. The colours are usually applied in single layers at Khandela, but great skill is shown in arranging them in different ways in bands, and also in mottling them. In Plate XX. Nos. 2 and 3 are given as examples of plain lacquer enriched with ivory inlay, and of raised lacquer ornament, both from Bikanir. The latter is an example of a work which is capable of great development. The artists at the remote desert capital of Bikanir, for want of suitable encouragement and advice, now apply their skill to such base purposes as the decoration of beer bottles, the tin backs of mirrors, and so on. At the School of Art in Jeypore a great deal of incised lacquer is now made, and for it there is a very large demand, as the designs are good and the work well finished. The two fragments of wooden staves which have been painted with water colours, and then covered with varnish, are said to have been made in Jeypore. There are preserved in the armoury of H.H. the Maharaja a number of such staves and maces, regarding which a well-known authority has observed that the ornament with which they were enriched was alone sufficient to keep a school of art. At Siwai Madhopur, in the South of Jeypore, until recently dwelt a man who produced native playing cards painted and lacquered on leather in the best style. This man unfortunately died, and with him, for a time at least, Siwai Madhopur has lost its name for his art. At Indurgurh, a tributary fief of Jeypore, on the Chambal, water pots and small articles of clay are painted and lacquered, and have a limited sale as curiosities. In almost every town in Rajputana tobacco and opium boxes, toys, and other small specimens of plain or mottled lacquer on wood are made. INDUSTRIAL ART AT THE JEYPORE EXHIBITION. CHAPTER XIII. STONE CARVING AND INLAY. PLATE CLXII. i. Inkstand of white Makrana marble inlaid with flowers in precious stones. Price 75 rs. 2. Salver of steatite, or soap stone. Workshops of Sewa Ram, Agra. HE well-known inlaid work of Agra is so far connected with Rajputana that many of the gems and the marble come from that province. The white marble is obtained from the quarries of Makrdna, in Marwar, a few miles west of the Sambhar Lake, and it was from them the material was obtained for building the two main edifices of the Tdj Mahal at Agra, the internal decoration of which originated the art of inlaying small articles with designs in different coloured gems, which now forms so large an industry in that city. 1 Models of the Taj and other buildings of note are made in soap stone at Agra, and also paper weights, boxes, trays, and such small articles. STONE CARVING. Plate CLXIII. Mahakali (All devouring Time), standing on her husband, Shiva or Mahadeo, at the end of the present age, or Kali Yug, symbolical of the destruction of the present creation both of gods and men. Mahakali is in black marble from Buldeo- garh, and Shiva in white marble from Makrana. The nag, or cobra, of Shiva is also of black marble. Price 80 rs. School of Art, Jeypore. PLATE CLXIV. Garuda, or the vulture king, the vahan, or vehicle, on which the god Vishnu is said to ride. In white marble. Jeypore. PLATE CLXV. Narsingh, the lion-headed incar¬ nation of Vishnu, destroying Haranya Kashipu, an impious king. Represented springing from an alabaster pillar. In white marble, coloured. 70 rs. Ram Salig, Jeypore. Plate CLXVI. Athbhuja Rama—the eight- armed Rama, the deified ancestor of the Rajputs, and an incarnation of Vishnu—seated on a lotus. White marble, painted. Jeypore. PLATE CLXVI I. Kartikeya, god of war, throned on a lotus seat, similar to the Raj Palang or Mora, on which Budha became Budh. White marble. Jeypore. PLATE CLXVI II. Hanuman, one of the minor deities, the faithful supporter of Rama in his exile and conflict with Ravana, King of Lanka, or Ceylon. Red marble from Buldeogarh, painted. 15 rs. Jey¬ pore. Plate CLXIX. Ganesha (Ganpati) in white marble, coloured. The Hindu Janus, god of wisdom and of gateways, invoked at the beginning of all work. His vehicle is a rat. Jeypore. PLATE CLXX. 1. Radha, the mistress of Krishna. 50 rs. Bakhtawar, Jeypore. 2. Sita, wife of Rama. 10 rs. Govind Ram, Jeypore. Both figures are in white marble, painted and coloured. PLATE CLXXI. Panels in white marble, details coloured. Round the margin are a number of Jain symbols and figures. The scene depicted is a Jain place of pilgrimage. Plate CLXXII. A slab of white Makrana marble, on which is carved a representation of the Jain idea of the three worlds—Earth, Heaven, and Hell. Eight heavens are shown, all of an equally monotonous character, and eight hells, in which the wicked are undergoing every variety of torture. Made by workmen employed under Baboo Tajmal Hussein, Jeypore. Price 275 rs. As might be expected from a country abounding in excellent building-stones of all kinds, the art of stone carving has attained to great excellence throughout Rajputana and the neighbouring 1 Of Florentine origin according to some authorities. STONE CARVING AND INLAY. provinces. These remarks are especially true of the northern and western portions of the area, where the dearth of timber has necessarily compelled builders to make use of the abundant and often easily worked stone at their doors. The Taj Mahal at Agra is constructed of white marble from the quarries of Makrana, in the hills on the Jodhpore border of the salt lake of Sambhar. The walls of the great forts at Delhi and Agra, the noble mosques at the same places, and most of the palaces at Fatehpore Sikri are built of red sandstone from the Bhurtpore State, while many of the exquisite coloured marbles of Jeypore and Ajmere, or the nummulitic limestones of Jeysulmer, were employed in decorating them. The repute of the Rajputana stone carvers is of ancient date. The temples at Ajmere were converted into a splendid mosque by Alla-u-din in the twelfth century, and the Kutb Minar and surrounding buildings, with their marvellous ornamentation, were, in all probability, the work of Hindus from Rajputana at about the same period ; but, as a proof of the still earlier celebrity of the country for its stones, and presumably its carving, may be mentioned the fact of the founder of Chamba, in the Himalayas, having sent, in the middle of the eighth century of our era, some of his nobles, and then his son and heir, to Abu for an idol for his new temple. Rajputana is filled with magnificent cities and shrines, both ancient and modern. The ex¬ quisite tracery and panels in the ceilings and cornices of the Jain temples of Dewalwara, on Mount Abu ; the spirited bas-reliefs on the walls of the temples at Baroli, by the Chambal River, and at Harashnath (dedicated to Shiva as the Lord of Joy), near Seekur, on the border of the Western desert ; the elegant pierced facades of the palaces at Jodhpore, Jeysulmer, and Bikanir on the west, at Ajmere, Jeypore, Ulwar, and Karauli towards the centre and east, with the beautiful figures, taken from the ruins of Champavati, in Sirohi, point to the widespread cultivation of the art of sculpture in the Land of the Rajas, and to the remote period at which it was first practised. The whole plateau of Chitore, the ancient capital of the Maharanas of Oodeypore or Meywar, is covered with ruins of magnificent character—a perfect history of the decorative stonemason’s art from the end of the ninth century—the age of a tower erected by the Jains, a beautiful structure covered with figures—down to the time of its desertion in a.d. 1568 for the modern capital of Oodeypore. The Hindu Brahmanists and Jains in Rajputana and in Gujrat, where both rulers and people were, and to some extent are even now, Rdjputs, were always great builders. Mr. Hope, in his account of the Architecture of Admedabad (1866), in speaking of the last great works of the Hindu dynasties at Mount Abu and Chandravati, observes ‘ that the Moslems were compelled to send their enslaved children to them to learn all that was beautiful in detail and plan ;’ and, again, ‘ they (the Mahomedans) found themselves among a people their equals in con¬ ception, their superiors in execution, and whose taste had been refined by centuries of cultivation. They forced on them, however, their own bold features of minaret and pointed arch, but borrowed their pillared hall, delicate traceries, and rich surface ornament.’ Of the temples of Abu he writes that ‘ for delicacy of carving and minute beauty of detail they stand almost unrivalled, even in this land of patient, lavish labour.’ He shows how at Ahmedabad the beauties of the mosques and palaces, and the astonishing variety and delicacy of their ornamentation, though fully influenced by the Mahomedan domination, are the outcome of the study of the neighbouring Hindu buildings, and are practically the work of Hindus, and this is the less remarkable because Ahmed Shah, the founder of that city, was descended from Seharan, a Rajput. It has been pointed out that the early Mahomedan Kings of Delhi employed Hindus from Rdjputana in erecting and adorning their capital, but it is equally true that many of the palaces and public buildings, and even the temples, throughout Rajputana have, since the accession of the Moghul sovereigns to the Imperial throne, shown in their construction at least the great influence of the paramount Mussulman power. It is evident that from one end of the Rajput land to the other there have been, and perhaps are, artists who have been able to design in endless variety, and statuaries who have carved, and can still carve, with equal skill, decorative work of beauty and power almost unapproachable else¬ where ; but the subject is so wide that it is not proposed to dwell further upon it here, but to consider the branch of stone carving which relates to sculpture of figures, as at present practised in the province. Two illustrations, however, of copies of tracery from Ahmedabad are given, because they are the work of Hindus employed by the wood carving company of that town, which, under American management, is endeavouring to foster the art, and to make known these beautiful works to the public in America and Europe by carefully reproducing them in wood or stone. The wonderfully elaborate and charming windows in a deserted mosque in the Bhudder at Ahmedabad, pictures in stone tracery of date palms, and other foliage, are reproduced by them in wood, at a cost of about a thousand rupees. The two plates are taken from wood carvings. Jeypore and the neighbourhood have become great depots for the manufacture of images for distribution throughout the Hindu world. This is due principally to the extraordinary variety and purity of the marbles and other stones suitable for carving which are found close at hand ; but it is in some measure owing to the town having been a great banking centre, as well as the capital of powerful Hindu princes, who even in the days of the iconoclastic Aurangzeb had sufficient influence to prevent the wholesale mutilation of their images. The State of Jeypore attained to something like its present important position under Maharaja Man Singh, about the close of the sixteenth century. His increased territory and wealth enabled him to beautify his capital of Amber, and, in order to carry out his views, he invited statuaries from remote places to settle in his dominions. Some came from Mandugarh, in Central India, where the ruins of the ancient seat of the Mandu kings still attract attention ; others from Narnol and Man- davvar, and a few from Nangaon, near Dig, in the Bhurtpore State. When Maharaja Sawai Jai (Jey) Singh built Jeypore (a.d. 1728), the siiawats, or stone masons, removed to the new capital, and now form a large guild, living in a separate portion of the town called the Stone Workers’ Quarter, or Silawaten ka Mohala. Many of the less skilled carvers are potters by caste, but the principal image makers are Brahmans. There are about twenty families or firms of sculptors, who employ about 150 workmen. The principal masters are :— Tulsi Ram Gobind Ram Fateh Ram Sheo Narayan Dhanna Ldl Bishan Ram Bakhtdwar Salig Ram Hukm Ram. Ganga Ram Lachman The principal prize holders at the Jeypore Exhibition were Ganga Baksh, Sheo Nardydn, Gobind Ram, and Bakhtdwar, the two latter for figure carving. The Jeypore School of Art and workmen employed by the Executive Engineers’ Department also took prizes. The School of Art endeavours to improve the indigenous art of the town by showing how much can be done by a little more care in attending to details. The finish and technical excellence of the work done in the present day is, perhaps, superior to anything that has been produced in the past. This is certainly true of the decorative carving in the recently erected public buildings in Jeypore, for which the designs have been furnished by Dr. de Fabeck, formerly Principal of the School of Art, or by Major Jacob, the Executive Engineer of the State, who has gathered about him a number of artists and statuaries who are capable of executing work of the highest character. It may be, as some have asserted, that the Hindu himself is not able to produce designs of great merit, that, in short, he is merely a workman who carries out the ideas of others ; but it is nevertheless perfectly true that without his patient labour, his infinite power of taking pains, these ideas could not be carried out. As in the case of enamel, the designs for stone carving are supplied by the painters, or chiteras , to whom is mainly due the degradation of art sculpture in India. As these men find a ready market for superior work they rarely take the trouble to produce a new design for an image, but copy old STONE CARVING AND INLAY. drawings which have descended to them from their forefathers—usually by the simple plan of pricking through the outlines on the paper with a needle, and then reproducing them with fine charcoal powder. Each specimen thus becomes worse than the last. The Hindu public during the Mahomedan supremacy, when artists and sculptors found decorative rather than figure carving most profitable, had to content themselves with inferior images, and the taste does not seem to have improved. That the artist is still capable of better things is proved by the success with which some of Major Jacob’s draftsmen, after a few months’ study of the arabesque carvings at Delhi, Fatehpore Sikri, and other large towns, have been successfully producing good designs, which are not copies of these originals, but really new creations of the same school. At a distance of about sixty miles only from Jeypore are still to be seen, in the greatest profu¬ sion, bas-reliefs and statues of deities and animals, of great beauty. These formed part of a magnifi¬ cent temple erected in honour of Shiva by a Chohan King of Sambhar, in a.l>. 961, on the summit of the high hill of Harashnath, near the modern town of Seekur. Youths were sent from Jeypore to copy these interesting sculptures, but it was found that they only made sketches of the principal fioures in a bas-relief, and drew the rest at home, as was afterwards proved, in quite the spirit of the originals. It will not be out of place to give some account of the valuable stones suitable for building and carving which are obtained in the neighbourhood of Jeypore, or are worked up there. The best white marble is procured from the quarries of Makrana, in the Jodhpore territory, not far from the Sambhar salt lake. It is soft, easily worked, of a permanently pure white colour, and capable of taking a high polish. As, unfortunately, flaws are often found in it, it is not available for the highest efforts of the sculptor, but for building purposes no material can approach it in beauty. The Moti Musjid in the Agra Fort and the Taj Mahal are constructed of it, also portions of the Memorial Church at Cawnpore, the stone for which was presented by the Maharaja of Jodhpore. A cubic foot of the stone weighs 160 pounds. A slab measuring 4-32 cubic feet will cost 3 rs. per maund of 82 pounds, 1 r. being paid for the Jodhpore royalty, 1 r. for quarrying, and 1 r. for carrying to Jeypore. The State tax varies from 1 r. for small pieces to 6 rs. 4 as. per maund for slabs or pillars of from 40 to 50 maunds weight, the quarrying from 12 annas to 2 rs., and the carriage from 12 annas to 1 r. 8 as. Twelve annas are paid for sawing a square foot of the stone. A square foot of carved and polished tracery, or jali at Jeypore would cost about 11 rs. Marble images and toys are produced in immense numbers and sold wholesale and retail at Jeypore and Dausa, an old town thirty-five miles north of it. Merchants come from Gujrdt and other remote provinces towards the close of the year and purchase the stocks which have been made in anticipation of their visit during the preceding hot and cold seasons. The Jains and other sects take plain images, but there is a great demand for coloured and gilded figures. The stone usually worked at Dausa is brought from Rialo, on the Ulwar border. Some white marble from the same geological series is also found at Jhirri, in the Ulwar State; it is exceedingly hard. The Rialo stone is said to be less pure, and is softer ; it is frequently marked with light- blue veins, which in the case of the pillars of the great billiard room of the Jeypore palace are very beautiful. Major Powlett, author of the ‘ Ulwar Gazetteer,’ considers the Jhirri stone the finest white statuary marble in India. As the Rialo stone is much cheaper than that from Makrana, it is moie often employed for building purposes, as well as for large images. Cream-coloured and white marbles are also taken from Bassi, near Jeypore. Stone of this cream colour, it appears, is much admired in Europe. The famous Tdj Mahal and the Agra and Delhi mosques, however, most certainly owe their marvellous beauty to the perfect purity and dazzling whiteness of the Makrana marble of which they are built. Grey and pink marbles also come from Rialo. Bainslana—a quarry in the estate of the Raja, 56 INDUSTRIAL ART AT THE JEYPORE EXHIBITION. of Khetri, a feudatory of Jeypore—yields a black marble which is much valued by the statuaries, who make from it elephants and other toys, Jain images, and especially the lingam , or emblem of Shiva. A large number of black images, made at Jeypore, which are commonly sold as of marble, are really formed out of a much more easily worked and less expensive chlorite, from Dungarpore, a small State about 120 miles north of Ahmedabad. A marble, varying in colour from salmon to dark red, is procured at Baldeogarh, eighty-eight miles from Jeypore, on the Ulwar border ; it is also used for making images, and particularly for large plates, figures of camels, and other animals. Beautiful green and other marbles have been found at Ajmere, and have been used with great effect in the mosaic pavements of the Mayo College at that place. At Jeysulmer, on the extreme north-west of Rajpiitana, are found some very beautiful num- mulitic limestones, which have been employed throughout India for wall and pavement decoration. They, or stones of the same formation, have been largely used in the Shalimdr Gardens at Srinagar, in Kashmir, in the palaces at Oodeypore, and in the magnificent buildings at Delhi and Agra. With regard to the limestones, it is sufficient to note that they are found abundantly in many parts of the province, but, as they are not often carved, particulars regarding them need not be given here. Sandstone of very fine quality, on the contrary, is very suitable for trellis work, and even figure carving. It is procurable on both the eastern and western borders of Rdjputdna. The desert capitals of Jodhpore and Bikanir are built of it, and there is scarcely a house-front in them that is not adorned with elaborate carved work. The same remarks apply to the towns of Karauli, Hindown, Bhurtpore, and others on the west. Agra, from its vicinity to the Bhurtpore quarries of Biana, has become famous for its carvers in fine sandstone. Forty selected geometrical patterns of trellis work were recently procured for the Jeypore Museum at the rate of 1 r. per square foot ; this will give some idea of the cost of the stone and value of the labour on such work. Some very good figures, on a large scale, have been made at Jeypore in red sandstone, and there is a beautifully executed gateway adorned with carvings in high relief in this material in the Jeypore Palace. Some of the sandstones and grits are used for making domestic utensils, such as hand mills, cups, rolling pins, spice tablets, &c. Many of these articles are slightly ornamented with carving. Soap stone, steatite, or ghai bhatta , is found near Rialo ; it is in much demand at Agra for making into models of the public buildings there, and into toys. It is stated that the Bombay engineers find it cheaper to obtain marble from Italy for their public buildings than to procure it from Rajputdnd. It is to be hoped that increased production and cheaper railway freight may remedy this evil. The total sale of stone carvings in the Jeypore State is from 15,000 rs. to 20,000 rs. per annum, of which about io,oco rs. worth are exported. The wages of the sculptors, chiefly Hindus, range from 8 rs. to 15 rs. per mensem, and of the quarrymen, who are usually Mussulmans, from 10 rs. to 20 rs. a month for day labour, or from 8 annas to 1 r. per maund at piece-work. A duty of 4 per cent, is paid on rough marble at Jeypore, and the same amount on articles exported. The chiterds, or painters, -who colour and gild the images, earn about 10 rs. per month. 57 CHAPTER XIV . POTTERY. LATE CLXXIII. i. Ewer in black clay, similar in shape to the Greek cenochoae. From Pattan, in the Baroda State, the ancient Nehrvvala Pattan. 2. Ewer with cover in clay. Made at Bombay in The shapes of these vessels are, perhaps, explained by the fact that Pattan was the seat of the great Balhara Raies, whose kingdom traded with the Greeks and Romans. Plate CLXXIV. i. Flower vase. Ground white. Flowers in pure blue of different shades. 2. Vase, shaped like a Persian lamp. 3. Pilgrim bottle. 4. Water goblet, Surahi. 5. Hooka or flower vase. School of Art, Jey- pore. the Sir Jamsetji Jijibhoy School of Art. 3. Water vessel with three handles for affixing cords. Black clay from Pattan. Before the establishment of the School of Art in 1S60 two kinds of pottery were made at Jeypore, the common or red ware and the black, both of which were manufactured at Baswa, on the border nearest to Ulwar. Glazed pottery, approaching the ancient Egyptian ware, has been manufactured for some years past in the school. The art was introduced from Delhi, and is likely to become a permanent industry at Jeypore, as good materials, within easy reach, are available for making it. The illustrations (Plate XXIII. Vol. I.) are not selected for special beauty or correct¬ ness of design, but as examples of colouring. They happened to be the only ones available ; some more interesting examples have been mislaid. Great improvements have been recently made by the exertions of the Principal, Baboo Opendro Nath Sen, who has kindly furnished particulars of the work. Two kinds of pottery are produced—(1) stone and (2) clay ware. The materials used in making the stone pottery, with the relative proportions required, are as follow :— Felspar . . . . . .5 seers Marble Multani clay, or fuller’s earth Borax Country soda, or saji matti . Kathira, gum Sugar candy . Glass The felspar is obtained from hills near Jeypore, and the marble comes from Makrana, on the Jodhpore border, about fifty miles off, while all the other materials are procured in the local market. All the ingredients are carefully pounded, sifted, and mixed together. The articles are made in moulds and are coated with white felspar and starch. They are then dried and the design is painted upon them in blue or green ; the former colour is obtained by using an oxide of cobalt, the latter with oxide of copper. Both ores are found near Khetri and Bhagore, in the Jeypore State, eighty miles north of the capital. After painting, the ware is dipped into a transparent glaze made of prepared glass, and then dried in the sun and fired in the kiln, a process which usually takes about six hours. The clay pottery is made from white clay procured in the Bochara hills, not far from Jeypore. vol. 1. 1 f seer 1 seer seer f seer T seer INDUSTRIAL ART AT THE JEYPORE EXHIBITION\ The specimens of Pattan ware are interesting from their classical forms, which are probably derived from Europe, as there was in ancient times a trade connection between Western India and Greece and Rome. Black, white, and red pottery, the latter not unlike the old Samian ware, are all made at Pattan. False gold and silver ornament is painted on to the surfaces of many speci¬ mens, and others are covered with a thick rich glaze of different colours, which is very effective and not unlike majolica. Plate CLXXIII. No. 2, Vol. I. is an ewer from the pottery w'orks in connection with the Bombay School of Art, under Mr. Terry. Most of this ware is a development of the Scind and Multan pottery, ornamented in some cases with subjects taken from the cave paintings at Ajunta. It is handsome, artistic, and free from European influences. CHAPTER XV. NATIVE MUSICAL INSTRUMENTS. LATE CLXXV. I. Mina Sdrangi, a variety of the Esrar , an instru¬ ment played with a bow. With the exception of the finger board it is made out of a single gourd. It is named after the fish- (inina) shaped carving on the hollow of the instru¬ ment. 2. Nddesvara Vina. A modern instrument formed from the violin and Setdr, played with a bow. 3. A Japanese flute. Presented to Raja Com¬ mander Surindro Mohun Tagore by the Mikado of Japan. PLATE CLXXVI. i. Tritantri Vina. A variety of the Setdr , an instrument played with the Mizrdb , or steel plectrum. 2. A Japanese guitar, presented to the owner by the Mikado of Japan. 3. Santika Vina. A Setdr of which the hollow is made out of a mother-o’-pearl shell. Played with a steel plectrum. Plate CLXXVI I. Guitar, or Vina, Enriched with ivory inlay. Made at Shahabad, near Umballa, Punjab. Plate CLXXVI 11 . 1. Tambura Vind or Tan- pura. A classical instrument invented by the celestial musician Tambura. Used in accompaniments in vocal performances. It is the indicator of the key¬ note. The bowl is 5d feet in circumference. Played with the finger-tips. 2. A small Sur-bahdr, which is played with a steel plectrum. This specimen can be divided into three separate pieces for packing. PLATE CLXXIX. i. Gold - enamelled stick. (Jeypore Durbar.) 2. An alligator-shaped guitar, owner by the King of Burmah. Presented to the All the musical instruments which have been illustrated, with the exception of the guitar (Plate CLXXVII.), were sent to the Jeypore Exhibition by Raja Surindro Mohun Tagore, Mus. Doc., C.I.E., the learned author of several works on Indian music and precious stones and the founder of the Bengal School of Music. 6o INDUSTRIAL ART AT THE JEYPORE EXHIBITION. CHAPTER XVI. CARPETS. Plate XXIX. Vol. I.— A small carpet copied from the fragment op a Persian original which has been in the possession of the Jcypore Family for about three hundred years. Property of the A uthor. ADE at the Ajmere jail under the superintendence of Dr. Newman, Surgeon- Major, Indian Medical Department. This rug has been selected for illus¬ tration as a gold medal was awarded at the Exhibition at Jeypore for one of the same pattern also made at the Ajmere jail. The Maharaja of Jeypore is the owner of a large number of carpets of unsurpassed beauty and value, which are believed to have been brought as spoils of war from Cabul by his illustrious ancestor Maharaja Man Singh, when he was the powerful vicegerent of the Emperor Akbar in Afghanistan. Although these splendid fabrics have been in use nearly three hundred years many of them show but little trace of decay. Age has given them a richness of tone and harmony which has greatly improved their appearance, though it is almost impossible to believe that they were ever lacking in these respects. The patterns are very varied ; they are always bold and graceful ; and, although continuity of design is preserved, no two parts of the same carpet, however large it may be, quite resemble each other. The borders of the Jeypore carpets are invariably darker than the centre, and the corner patterns are carefully blended, a point not always attended to in modern work. There are a few geometrical designs, but in most of the examples leaves and flowers stand out from a rich rosy red or indigo blue ground. The bent rose leaf, which in Indian jails has degenerated into the fish pattern, the conventional Tartar cloud in its simplest form, or arranged as an escutcheon of inter¬ lacing clouds, and the great shield pattern, are most commonly seen. The gem of the collection is a pair of rugs with a common border similar to a double Kashmir shawl. The centre of each compartment represents a verdant meadow full of birds, beasts, fishes, and monsters of strange forms and colours. It is probable that the carpets were made at Herat, where the manufacture was continued until some years since, and decayed only when that capital became the centre around which many disastrous wars were waged. 1 The Herat carpets usually had a groundwork of silk, and one of the two small rugs in the Jeypore collection are made in the same way. The bulk of them, however, have strong thread as the basis, and terminate, as do the Turkoman carpets, in fringes ; and to these people, perhaps, we must look for the origin of the Herat industry. Many authorities consider that the figure known as the Tartar cloud, which is seen in so many of these carpets either as a whole or as a conventional symbol where the design will not admit the whole, is a proof that these fabrics were first made by the Turanian race. The Tartar women make their rugs in much the same fashion as do the prisoners in Indian jails. Certain families have traditional patterns, which they go on repeating from generation to generation. An old dame draws the pattern on the sand, and the younger women weave the 1 Coxon on Oriental Carpets. Unwin, 1884. CARPETS. 6 r I i t L t i \ l * I s ) l h k i L t L» \ ! carpet on a rough frame at the tent door. The foundation is formed of strong threads, under which the pieces of coloured wool are passed twice, over and under, so as to bring the two ends out in front. When a row is completed the wool is hammered down with a rude wooden carpet comb, the threads are crossed, and, after a little thread or cotton has been introduced, recrossed before a new row is begun. The pile is cut and trimmed when finished. Kurdistan, Kirman, and Khorassan were famed for producing the best carpets, but the industry bade fair to be ruined by over-production and the use of aniline dyes and brighter crude colours. The present Shah, Mr. Coxon writes, has forbidden the importation of foreign wools and dyes, and ordered that all carpets manufactured in his dominions shall be made in the old designs ; but it is difficult to prevent the introduction of aniline, the fount of all the mischief. The old colours were made chiefly of vegetable substances and were almost invariably permanent. The superior quality of much of the Persian wool is said to be due to the sheep being pastured in almost perpetual spring, as, owing to the peculiar configuration of the country, they can be brought down Irom the mountains as the winter comes on into a genial climate, and need never be exposed to cold or great heat. Although on the whole the evidence is in favour of the Jeypore carpets having been brought from Herat by way of Kandahar, it must be observed that in the Ain-i-Akbari 1 Abul Fazl relates that the Emperor Akbar * had caused carpets to be made of wonderful varieties and charming textures,’ that ‘the carpets of Iran and Turan are no more thought of, although merchants still import carpets from Goshkan, Khuzistan, Kirman, and Sabzwar.’ 2 The carpets are found in every town, but especially in Agrah, Fathpur, and Lahor. Some of the Jeypore carpets were marked ‘ Lahori gillam,’ or Lahore carpets ; but this probably indicates that the heads of the department in whose charge they were received them from' that place when the Mahdraja returned to Court from Cabul. The ambassador Sir Thomas Roe mentions the Persian carpets spread out before the Emperor on the Nau Roz, or Festival of the New Year, and Jehangir’s promise to send Persian carpets to the King of England. It is evident, therefore, that Europeans three hundred years ago, even in India, looked upon Persia as the centre of this great trade. Mr. C. Purdon Clarke, C.I.E., has recently acquired for the South Kensington Museum a number of carpets which were used in the south of Spain in the churches, as proved by the wax stains upon them, and neither he nor the writer could distinguish them from those they had both seen together in Jeypore. They probably came by the L overland route from the East. The larger Jeypore carpets are in sets of three, long and narrow, suitable for great durbars or court ceremonies. There are smaller ones, but all are long and narrow. The prayer rugs have the centre pattern shaped like a niche, with a small space at the top on which the devout Shiah can place a little piece of clay from Karbela, and thus, as he touches it with his forehead, literally fulfil the law which says, ‘ Thou shalt bow the head to the earth in prayer.’ 3 The carpet in the East is not a thing to be trodden underfoot, but a beautiful covering for the ground, upon which the eye of the beholder can gaze with pleasure, as on a meadow strewn wdth flowers. H.H. the Maharaja of Jeypore has very liberally lent his valuable treasures in order that these grand old patterns may be reproduced. Ajmere, LTwar, Agra, Lahore, and the carpet company at Allahabad have profited by this encouragement. 2 Goshkan in Irak-i-Ajami, Khuzistan in the province 62 INDUSTRIAL ART AT THE JEYPORE EXHIBITION. CHAPTER XVII. MANUSCRIPTS AND PAINTINGS OR ILLUMINATIONS. LATES CLXXX. to CLXXXIII. Four of the illustrations of the famous copy of the Gulistan of Shaikh Muslihu’d-din Sa’di of Shiraz. Made for H.H. Maharaja Bani Singh of Ulwar, in the first half of the nineteenth century. Illu¬ minated in gold and colour. (Lent by H.H. the Maharaja of Ulwar.) Plate CLXXXIV. Two pages of a magnificent copy of the Koran. Written at great cost for H.H. Maharaja Bani Singh of Ulwar. (Lent by H.H. the Maharaja of Ulwar.) Plate CLXXXV. Two pages of the Koran. Said to have been written by the Moghul Emperor Auiangzeb (Alamgir) with his own hand. (Lent by H.H. the Nawab of Tonk.) The art of calligraphy has naturally been much cultured in India, not only because the printing press has been only recently employed in the preparation of books, but on account of the objection amongst Mahomedans to using it in the multiplication of the Koran. The Hindus have long printed from blocks, but have not taken so much pains in illustrating their works as the followers of the Prophet. The graceful form of the Arabic character is peculiarly suitable to the display of artistic talent. The Persians have long been renowned for their love of calligraphy and for the skill and versatility of their penmen. Many beautiful examples of both ancient and modern manu¬ scripts, some of them written in Persia and others in India, which differ from them in no way what¬ ever, were sent to the Jeypore Exhibition. As specimens of calligraphy the contributions from Ulwar and Tonk were the most remarkable, but Jeypore bore away the palm for beauty of illustration with its noble copy of the Razm Namah, the Persian version of the Mahabharata, or History of the Great War of the early Hindus, of which a full description, accompanied by a set of platinotypes of nearly the whole of the miniatures, will be given in the fourth volume of this work. It is well known that the Moghul princes were always taught some industrial art by which, in the event of a not unusual reverse of fortune, they might earn a livelihood. The Emperor Aurangzeb in this way became a skilled penman, and from Tonk was received the seventh portion of the Koran, written by that great monarch’s own hand ; two pages of this interesting work have been reproduced in Plate CLXXXV. Vol. III. The characters are bold and clear, thoroughly characteristic of the man who wrote them. From Ulwar came a magnificent Koran (Plate CLXXXIV. Vol. III.). The artist is said to have begun his work again after he had almost finished the first copy because he had made a single error in transcribing the sacred volume. Every page is richly illuminated in gold and colour. The broad lines are written in blue characters with white shading on a ground of gold ; the narrow lines are in red on a white ground. The marginal notes are so fine as almost to require a powerful magnifying glass to read them. The gem of the Ulwar collection, of which four illustrations have been reproduced in Vol. III. (Plates CLXXX.-CLXXXI 11 .), is a copy of the Gulistan of Shaikh Sa’di, which was written for Maharajd Bani Singh, who died about twenty-six years ago. The artist, who was in the employ of the Maharaja, is represented in Plate CLXXXII. presenting the completed work to his master. The State records show that he was paid a lakh of rupees as sala/y while he was writing the ( book, but, as Colonel Cadell, V.C., late Political Agent at Ulwar, after careful calculation, concluded that it had only cost 50,000 rs., it is probable that other work was done during the same period. Every page of the book is illuminated with gold and colour, and the spaces between the letters are worked in gilt leaves with minute coloured flowers. The miniatures, which are most delicately executed, are protected by gold-beater s skin, ana are marked by projecting slips of paper. It will be observed that in Plate CLXXX. the artist has introduced the flag of the East India Company at the stern of a boat—somewhat of a daring anachronism, as the Gulistdn was composed in the thirteenth century (a.d. 1258). Some examples of the perverse ingenuity of natives of India in inventing labour which has no conceivable value were sent to Jeypore. Amongst these are writings done with the nail of the little finger, which is kept long solely for this purpose. There are men who earn a livelihood entirely by writing names and titles of wealthy persons in this manner. The paper is slightly moistened and the characters are formed by pressure. Facsimiles of eight illuminations in the possession of the Maharaja of Jeypore have been included in Vol. I. (Plates XXXII.-XXXIX.), because they are unusually good examples of Persian illumination and afford a great variety of floral patterns which are very suitable for repro¬ duction in the textile and allied industries. As a large collection of portraits, landscapes, manuscripts, all done by natives of India, was shown in the Exhibition, a few additional remarks on the subject of Native Art in Northern India, and especially in Rajputana, will, perhaps, not be out of place. Although, of course, it must be granted that art cannot be considered to be in a high state of perfection in India, still the study of native paintings, sculpture, and decoration generally cannot but afford most valuable aid to understanding the character, modes of thought, customs, and habits of the people. Everything the artist pourtrays—and nothing seems beneath his notice—is dealt with in the most faithful and minute manner. In the larger cities of Rajputana many persons find employment in preparing the simplest pictures—chiefly representations of the gods of the Hindus and the numerous mythological legends connected with them, while a few artists are capable of adding portraiture to their means ot obtaining existence. The Indian artist is equally at his ease in decorating the outside walls of a building with colossal pictures of battles or love scenes, or in painting a miniature, though the choice spirits of course prefer the latter. Even the best men have to do rough work to live. Hindus are very fond of adorning their house fronts with pictures, and sometimes barely leave a foot uncovered. A house in the Jahauri Bazar, the principal street of Jeypore, is painted in distemper from the ground floor to the roof with drawings illustrative of the European mode of domestic life from a native point of view. The front of the principal building in the town of Amber, the old capital of Je)pore, is covered with a battle scene. Where stone or brick figures of elephants or horses cannot be placed before a temple gate, the adjoining walls are adorned with coloured sketches of these animals. At the entrances of courtyards and buildings the Hindu Janus—Ganesha the elephant¬ headed god, is painted, and his image is put above the door. The artist paints on plaster, wood, thick cardboard, or on paper—generally a thin brown, country-made kind—on membranes, on talc, or on ivory. In books the finest miniatures are protected by pieces of thin paper or gold-beaters skin. English colours and brushes are now used almost everywhere, but, like the old European painters, the Indian artists know how to make their own pigments. The artists usually belong to the carpenter sub-caste, and earn from 4 rs. to 32 rs. per mensem, in rare cases more. With regard to wall painting, the artist generally sketches from memory where the work is on a large scale, and from a carefully prepared design where more elaborate drawings are required. If figures are to be repeated, as in the case of ceilings, floors, or facades, with geometrical patterns, the outlines are produced by fine charcoal powder rubbed through the holes in a paper stencil plate. The common mythological subjects are all done in this way, hence the unvarying monotony ol MANUSCRIPTS AND PAINTINGS OR ILLUMINATIONS. 64 INDUSTRIAL ART AT THE JEYPORE EXHIBITION. religious pictures from one end of India to the other. Old designs are patched and repaired with the greatest care, and are very much valued. Many subjects are drawn in simple, generally blue, monochrome. More often the figures are coloured with bright uniform tints. Examples of this kind may be seen on the rear wall of the great palace at Ulwar, on houses in Jeypore, on many ceno¬ taphs, as at Seekur, in Shekhawati, on temple walls or private residences all over Rajputana. Rooms are decorated with more care and refinement. The finest specimen the writer has seen of a painted interior is the Phul Mahl, or Flower Palace, at Jodhpore, the fifteen years’ work of a Jeypore artist. The ceiling of the room, which, perhaps, is thirty feet long and twenty broad, is covered with charmingly executed portraits of gods, princes, and fairies set in circular frames amidst a beautifully designed and painted ground of floral and geometrical forms. The drawings are finished with the greatest care. In the Do-chattar Palace at Jeypore there are some curious paintings in two window recesses, reminding the visitor of the early Venetian dyptichs. One represents Adha-nari, or the combined form of the god Shiva and his wife Parvati, and the other Kali, or All-devouring Time, a frightful female figure wearing a chaplet of the heads of demons, all with horrible countenances, the goddess waving a huge scimitar while she swallows trains of elephants, horses, and carriages. The blade of the weapon is covered with a solid paint or foil, which gives it the appearance of metal. The figures are protected by folding doors, on both sides of which are painted figures of minor characters connected with the legend within. Portable shrines with a similar arrangement of doors, more or less elaborate, are made in several places in India. In one now in the Jeypore Museum the outer doors, each of which also forms a separate shrine, are painted in lacquer with a complete set of the incarnations of Vishnu. Painting on glass is hardly known in India, but a similar effect is produced by cutting out a design in metal or plaster and by filling in the interstices with pieces of glass of different colours. A beautiful effect is produced when the sun shines through windows thus ornamented. In the Jey Mandir, a room in the old palace of Amber, formerly the capital of the Jeypore State, there are some fine studies of scenes in the life of Krishna executed in this style. The idea is said to have come from Venice, and there is some ground for it, as in the adjoining baths the geometrical patterns of the windows are still filled up with roundels of bottle glass which, early in this century, Bishop Heber was informed, were brought by the overland route from the famous Queen of the Adriatic. Mica, formerly used in lieu of glass in windows, is painted upon, as, for example, in the familiar sketches of native servants of different castes and occupations which are sold at Benares ; it is also used to protect paintings on other substances and in the preparation of flower designs in plaster, as at Amber and elsewhere. Pieces of mica are often employed for many purposes instead of glass. Native paintings are, however, commonly executed on paper and ivory. Some of the best examples on both materials are preserved at Ulwar, where they were collected by Maharaja Bani Singh, who during a long life was renowned as a patron of art. In the collection are several portfolios of scenes from the Ramayana, each drawing being, it is said, worth 500 rs. All have a beautiful margin of garlands of roses and other flowers, and in some cases there are paintings on both sides of the paper. The gem of this collection is a painting on a long roll of the procession of the Emperor Akbar II. and suite, with the British Resident at his Court, passing before the Delhi palaces on the banks of the river Jamna. The principal characters are certainly portraits ; they are beautifully executed in the style of the ivory miniatures for which Delhi is so famous. The Ulwar State also possesses one of these paintings on an oval ivory plaque a foot long. I he paper employed by the Indian artist is almost always coarse in texture, but if he particularly wishes his work to last he uses gold-beater’s skin. Allied to mural painting are the various modes of decorating rooms by inlaid or raised work of different kinds ; these may be best indicated by examples. In the Sukh Manchr, or ‘ Hall of Ease,’ at Amber, the walls and ceilings are constructed of plaster raised into a variety of patterns, such as flowers, vases, and diaper work. Mica and finely powdered marble have been mixed with the plaster, thus giving a peculiar appearance, like satin, which has a very cool and pleasing effect. The SIrish Mahals , or ‘ Mirror Halls,’ are very curious. There is one in every palace or large house of any importance. Silvered glass is now generally used, but mica was employed in early examples. In a very fine 1 mirror hall’ at Chomu—twenty miles north-west of Jeypore the flowing patterns are formed by raised gilt or bright red bars. At Amber the Jas Mandir , or 4 Hall of Splendour,’ is adorned with pieces of silvered glass set in such a way into the plaster as to form cypress trees, pines, and flowers, coloured foil being used in some instances with good effect. The rooms behind the great Dewan-i-Am, or Council Hall, at Ulwar are beautifully decorated in this style with small pieces of glass of many colours, so that at night, when lit up, the visitor might well believe himself in one of the jewelled halls of the famous palace of Aladdin. The Chhabi Nawds, or 4 Hall of Beauty,’ at Jeypore may be taken as the most modern development of this style. Flat pieces of glass of various colours are cut into different shapes and set in hollowed shells of copper plated with silver, thus ensuring depth and great brilliancy of effect. These are arranged in geometrical patterns with outlines of gold, and mirrors are introduced at suitable intervals. In a small room opening out of this hall may still be seen a little of an older form of decoration in porcelain tiles : the flowers and arabesques are raised from the ground, and both design and material are of excellent quality. There are very curious rooms at the palaces of Oodeypore and Dungarpore, in which the old, well-known willow-pattern plates have been let into the wall, at the former place in the midst ot Dutch Scripture tiles, in the latter amongst mirrors and paintings of battle scenes or portraits of British officers from the neighbouring cantonment of Khainvarrah. At Oodeypore the influence of the Dutch has been felt in many ways. The neighbourhood of Surat, as already indicated, where the Dutch had a factory, is sufficient to account for this. Perhaps the most curious form of decoration is the use of the so-called papier mache ol Kashmir, which has been employed in the palaces of the Maharaja at Srinagar, the capital ot the valley. The ceilings and walls of several large halls are covered with this work, more coarsely executed but similar in design to the familiar card cases and small boxes brought from Kashmir. The effect on this large scale, as already indicated, is very poor. The Maharajd has added to the bizarre appearance of these chambers by surrounding them with splendid horns of the bdrah singha deer_ Cervus elaplms—on every tyne of which a glass candle-shade has been fixed. Dados and floor borders in fresco or distemper have been made for a very long time in Hindu palaces. Major Jacob of Jeypore has improved and modified the processes by which this work is accomplished. Such a thing as a gallery of native pictures is hardly to be seen. A chief or noble may have a complete series of portraits of his ancestors, but if large these are protected with folding doors kept constantly sealed, or if small are placed in portfolios. In out of the way rooms of native courts a few portraits may be hung amidst an odd lot of questionable French prints and rude chromo¬ lithographs. Such collections may be seen at Ulwar, Bhurtpore, and Kishengarh. At Karaulf, however, there is a hall adorned with portraits of departed kings, representations ol gods, and landscapes, all protected by glass, and at Amber the walls of a small room in the great palace are completely covered with views in distemper of celebrated Hindu cities, which are of some value, as they faithfully represent the towns as they appeared early in the eighteenth century. In order to show both sides of a street the houses nearest the spectator are represented flat on the ground. All the principal buildings are named, the roads filled with people, the forests with deer, the rivers with fish, and the images of the gods are seen in the temples. At Mandore, the ancient capital of Marwar or Jodhpore, there is a gallery of sculpture. Huge figures, representing the gods and heroic ancestors of the desert kings, are cut out of the solid rock, VOL. I. K MANUSCRIPTS AND PAINTINGS OR ILL UM 1 NATIONS. 66 INDUSTRIAL ART AT THE JEYPORE EXHIBITION. and in front of them a colonnade has been built to protect them from the weather. These figures differ from the ordinary carvings with which so many Rijputand temples are covered, as they are intended to be portraits. The subjects represented by Indian artists divide themselves into several groups. 1. Religious pictures, such as representations of the gods and legends connected with them ; scenes in the lives of holy men, ceremonials and implements used in them. 2. Portraits. 3. Historical subjects, such as battles, court ceremonies. 4. Domestic scenes. 5. Sporting subjects. 6. Moral pictures. 7. Book illustrations. 1. Religious Pictures. —As before mentioned, every main doorway has over or near it an image or painting of Ganesha, the god of wisdom and of gateways, who is invoked at the beginning of all works. Thus books are commenced with the invocation ‘ Sri Ganeshya nam,’ or ‘ Reverence to the name of Ganesha,’ or Ganpati, as he is sometimes called. He is generally represented sitting cross- legged on a cushion with attendant maidens waving fans, and a rat (his vahan, or vehicle) beneath him. In some places Krishna is also painted near gateways, standing by the side of a cow and play¬ ing the flute. The deities in their simplest and highest forms have usually pleasing and innocent features, but when some special attribute or legend is treated they are depicted in monstrous, and to the Hindu awful, forms; active power being shown by multiplication of limbs or distortion of the countenance. The ‘glory’ or ‘nimbus ’ is drawn round the heads of gods and kings by both Hindus and Mahomedans ; it is generally gilded and has long rays. In the Ain-i-Akbari it is stated that Mahomedans consider that all children predestined to rule are born with a halo round their heads which is visible only to the eyes of seers, or holy men. The real origin of this is no doubt the parhelion, or glory, which anyone may see for himself on a foggy morning, under certain conditions of light, in his own shadow. The Mahabharata and Ramayana afford the most abundant scope for illustration. Scenes from the latter and from the Puranas, especially those relating to Krishna, are, perhaps, most popular. Great care is always taken in drawing correctly the symbols of each god, which are usually held in their hands, but, apart from these, it is easy to distinguish the deities by their features ; thus the Roman nose of Shiva is always well marked, and the Grecian organ—the type of culture—of Vishnu is as decided, while Brahma bears what Warwick in his essay on this subject terms the broad cogitative or thoughtful nose. Favourite sets of religious pictures are the ten incarnations of Vishnu, the different forms of Mahadeva or Rudra, the Sikh Gurus, the twenty-four thirthankars, or deified saints, of the Jains, and the Rags, or modes of music. The histories of the Rishis, or sages, and the adventures of Krishna are frequently depicted. The walls of the palaces and temples in the Galta, a pass in the Jeypore hills, are covered with illustrations of this kind ; for example, one in which a king and his courtiers are observed doing homage to a thin, somewhat sour-looking ascetic on the mountain top. As a good specimen of popular works of the same class the story of Raja Dhanwantwari or Mordwaja (Peacock Standard), as given pictorially, may be mentioned. Two Brahmans (Krishna and Arjuna), disguised as members of the sacred caste, arrive at the palace of the king with a tiger ; they demand that he should present, if he were really the charitable person he was rumoured to be, half his only son’s body to the beast, who had promised to restore the child of one of them on this condition alone. This is shown in the foreground. In another part of the picture the raja is observed consulting the queen, who is behind a curtain, as to the answer he shall give*. In a third corner of the same drawing the parents are depicted in the act of sawing their boy MANUSCRIPTS AND PAINTINGS OR ILLUMINATIONS. into two pieces, and at the top of the paper their faith is observed to be rewarded by the restoration of their child, who descends in a celestial vehicle from heaven unhurt. We have, therefore, in one painting a whole story told in a way which a native of India can thoroughly appreciate. The ceilings and domes of rooms are frequently adorned with representations of the Ras Man¬ date, or heavenly dance, in which Krishna multiplied himself to become a partner for each of his fair votaries or companions—the gopis, or milkmaids. The religious subjects, however, are almost endless. 2. Portraits executed by native artists are stiff and formal. The profession or tastes of the subject are indicated in various ways. A warrior is recognised by his sword, a sportsman by the hawk or falcon on his closed fist; the pious man is represented with clasped hands in a reverent posture. A small noble or chief will be drawn seated on a cushion with his attendants waving plumes over his head. A bayadere is painted standing on one toe, the European shooting tigers, the banker counting money, the priest with his arm in a bag representing a cow’s mouth, turning his rosary as he says his prayers in secret. Complete series of portraits of lives of native rulers, each chief distinguished by some peculiar symbol, can be obtained. They are very interesting as studies of costume, fashion, and character, being always reproductions of original contemporary portraits. In many of the early portraits the painted jewelled ornaments are set with real gems. The frontispiece of Vol. II. is a facsimile ot a contemporary portrait of the Emperors Shah Jehan and Aurangzeb. The Delhi miniature painting on ivory has been so influenced by European art as hardly to come under the head of native painting. It is well known that European artists of great merit were employed at the Dehli and Lucknow Courts, and the natives no doubt followed their style. The native artist possesses little knowledge of perspective, and this defect in his training is especially noticed in the backgrounds of his figure subjects. 3. Historical Subjects, &c. — Amongst a martial people, such as the Rajputs, it is natural that war with its triumphs and dangers should be most frequently depicted. We therefore find that the walls of most palaces are covered within and without with elaborate battie pieces. In the principal hall of the palace of the hill chief of Erki, near Simla, one of the walls is covered with such draw¬ ings. The air is loaded with arrows and dismembered bodies are scattered about the field. Paintings of court ceremonies, such as peshwais, or processions, to welcome a distinguished visitoi, durbars, or public audiences, installations of kings, and so on, come under this head. 4. Habits and Customs. —Under this head the subjects are endless. Sports, such as elephant fights, boar hunts, hawking, tiger shooting, form favourite studies. A good deal is suggested to the imagination in such pictures. Thus in a hunting scene the fleetness of the sportsman’s horse is shown by his succeeding in placing his bow over the neck of the flying deer. The walls of the Do-chattah Palace at Jeypore are ornamented with a series of sporting pictures, and also along the cornice with some very beautiful and interesting sketches of domestic life, in which women and children are engaged in playing games, tending animals, or performing the various offices of the toilet—a perfect representation of the daily life in the zenana. Such drawings maybe bought in sets. 5. The Indian artist, like most of his countrymen, delights in producing eccentric work. Well- known examples of his skill are the figures formed of numerous animals, or even of human beings, in different positions. On an elephant composed of women Krishna rides. Great strength is sym¬ bolised by a bird bearing aloft a winged elephant, who himself carries seven common elephants with his toes, tail, and trunk. 6. Book Illustrations. —The cheap native works are frequently illustrated with rude woodcuts. The pamphlets on cheiromancy, omenology, and such subjects owe their popularity to then- illustrations. In the fourth volume of the memorials of the Exhibition some of the best examples of the highest style of book illustration three hundred years ago are reproduced, but there are tew men capable of such work in the present day. k 2 68 INDUSTRIAL ART AT THE JEYPORE EXHIBITION. CHAPTER XVIII. THE CITY OF JEYPORE. Si FEW views of the city of Jeypore and its vicinity have been included in the third volume, as, without some examples of the domestic architecture of the people, the series of illustrations of their industrial art would hardly be complete. Jeypore, or Jeynagar, the City of Victory, takes its name from its founder, Maharaja Sewai Jey Singh II., who began to build it about the year 1728. The ancient capital of Amber, situated in a small valley about five miles from leypore, had become too confined for the increasing population which the prosperity of the State under its famous ruler, the greatest of the generals who supported the Emperor of Delhi on his throne, attracted to his Court. Jey Singh therefore determined to build a city which should be worthy of his fame. He constructed Jeypore on a small plain or basin, con¬ jectured to be the bed of an old lake, which is surrounded by rugged hills on all sides except the south, where the ranges diverge. The town was protected by a crenelated masonry wall, with bastions, and by forts on the open side and on the principal summits of the hills. The seven great portals, one of which, the Sanganir Gate, is shown in Plate CLXXXVII., are all built on the same pattern with screen walls. They have two small kiosks above and machicola¬ tions over the entrance. The doors are of wood studded with iron spikes, to resist the attacks ol elephants, v/hich were sometimes formerly employed to burst through such obstacles. It will be neen that the upper portions of the gate and adjoining walls are loopholed for musketry. Cannon are mounted on the bastions. The town is laid out upon a perfectly regular plan in accordance with the rules given in the Silpi Shastras, or Sanskrit works on architecture ; its main street is over two miles long and thirty- seven yards wide ; other roads of equal width and a mile and a quarter in length, which cross the chief thoroughfare at right angles, divide the city into seven nearly equal blocks, of which the one in the centre on the north side is occupied by the palace and its grounds. At the intersection of the great streets there are large squares surrounded by temples and public buildings. In the middle of the square there are tanks with fountains. All the smaller streets and lanes are arranged on the same plan as the larger ones, and are of proportionate width. By the munificence of the late chief, Maharaja Siwai Ram Singh, the citizens were provided with water and gas, the former of which is pumped up from a small river two miles distant, and distributed to all parts of the town through iron pipes, while the latter is made from castor oil in the gas works near the north.wall. The same enlightened prince also established a magnificent public garden close to the town, and a fine hospital dedicated to the memory of Lord Mayo, whose statue he placed beside it. A school of art, a college in which more than eight hundred youths are educated, a public library, and similar institutions also attest the interest taken by their late prince in the welfare of his people. The present ruler of Jeypore, while maintaining all these institutions, has increased their use¬ fulness and added others to them. He supports an Industrial and Educational Museum, which is visited by more than a quarter of a million persons every year, and at his sole expense he held the THE CITY OF JEYPORE. Exhibition of which these volumes are a memorial and regarding which full particulars are given in the Introduction. To return to the architectural features of Jeypore: It has been said that when someone boasted before Jey Singh of the magnificence of the Chandni Chauk, the famous ‘ High Street ot Delhi, he replied that his new capital would have not one but many Chandni Chauks. Whether this be true or not, perhaps few would think the great highway of Delhi more magni¬ ficent or more picturesque than the principal bazaars or streets of Jeypore. The illustrations will afford a far better idea of these busy thoroughfares than any description. Plate CLXXXVI 11 . represents a portion of the eastern square where the road beginning at the Samranir Gate crosses the main street, which extends from the Portals of the Sun and Moon along the highest ridge of the city. The buildings surrounding it are temples now occupied by the Public Library and College. Awnings have been put up by the shopkeepers to protect themselves and their wares from the fierce rays of the sun. In Plate CLXXXIX. a part of the Sadar Bazar, or great central street, is shown. On the right is the royal stable yard with its principal gate, and a lofty tower—the Isri Minar, or Lat— which dominates the city. From these two plates the prevailing character of the architecture of Jeypore can be gathered. On the ground floor are shops in a continuous arcade, with a screen wall above filled up with tracery, or here and there, sometimes in unbroken line, surmounted by lofty houses. The roofs are generally flat, but they are often ornamented with small kiosks crowned with domes or boat-shaped vaults studded with gilt pinnacles. Balconies and jarokhas, or windows, project from the walls above the long overhanging sunshades or cornices which are so characteristic of this Indo-Saracenic style, and afford an abundance of shadow—a most important and pleasing architectural feature in the fierce heat and bright light of the East. The foiled horizontal arch is used everywhere—in the shops, in the private houses, in the niches and kiosks—and does not weary, because its form is infinitely varied. The next four views are of portions of the street leading from the eastern square, shown in Plate CLXXXVIII., past the Exhibition building on the left hand towards Amber, the old capital. The first (Plate CXC.) on the left hand, a few paces from the square, is the Hawa Mahal, or Palace of the Wind, a fantastic but not unpleasing building, with many projecting balconies pierced with innumerable windows and openings, so that every breeze may enter and cool the rooms within it. The picturesque effect of this and of all the houses in the town is increased by the fact that they are painted in the same colours—a pink or strawberry tint picked out with white. Sometimes the whole city changes its livery, one street becoming yellow, another light blue, and others green or red, while here and there a rich citizen may decorate his mansion with interest¬ ing if inartistic portraits and scenes from his copious mythology. The awnings also are made ol red and white striped cloth, and so assist in toning.down what would be, were only white employed, an overwhelming dazzling brilliancy of hue. The views CXCI. and CXCII. were taken from the roof ol the Naya Mahal, or New Palace, which was used for the Exhibition. In the foreground are temple courts and buildings, while behind them are the houses of the private residents. As far as the city wall, beyond which a plain extends up to the sides of the hills, which are in some places even overtopped by the sand, the peculiar boat-shaped vaults are well seen in both photographs, as also the very thin walls of which all these buildings are constructed. In Plate CXCII. one of the temples has a pyramidal spire, such as is characteristic of most Hindu shrines in Bengal. It is erected over the cell which contains the principal image. The dome over the Assembly Hall in front of the spire is also ot unusual form, rising by a series of steps to the kalas , or pinnacle. In the next photograph (Plate CXCI 11 .) the continuation of the same street is shown, but the view is taken from a different point, so as to bring in both sides of the road, and on the left, in the foreground, the top of the outer of the seven gates which form the eastern or royal entrance to the INDUSTRIAL ART AT THE JEYPORE EXHIBITION. palace. Still farther on the same side is the theatre, distinguished by its inharmonious enormous flat roof, and in the distance are the walls which surround the palace lake, with the depression in the hills over which passes the road to Amber. If the visitor were to turn through the outer palace gate he would pass through a courtyard and see before him the Sharid Deora, the Royal Portal, corresponding to the Sublime Porte at Con¬ stantinople. This beautiful structure is represented in Plate CXCIV. The designs and ornament upon it are coloured in fresco. The demi-vault above the door is beautifully broken up into planes meeting at different angles, so as to afford variety of shadow. An image of Ganesha, the Hindu Janus, is placed over the point of the arch. Two graceful balconies supported on delicate brackets flank the doorway, while the chamber on the roof is the drum house, where at certain fixed hours musicians play in honour of the Mahdrajd. A third gateway can be seen through the arch, and behind it the upper part of the seven-storied Chandra Mahal, or Palace of the Moon, the principal residence of the King. A great square, the Jaleb Chauk, stretches between the last two gates, and round it are ranged the principal public offices. Plates CXCV. and CXCVI. represent the Jaleb Chauk as seen from the terrace in front of the Exhibition building. It was on this terrace that the opening ceremony of the Jeypore Exhibition took place on the evening of January i, 1883, when the last rays of the sun lit up a scene such as is but rare even in India, the beauty of the buildings and the surround¬ ing gardens and hills being set off by the rich dresses of the spectators and the magnificence of the Maharaja’s Court. NAMES AND ADDRESSES OF MAKERS OR AGENTS WHO HAVE CONTRIBUTED TO RECENT EXHIBITIONS. Chapter and Class Names Addresses Remarks I. Armour . Principal School of Art Jeypore, Rajputana Bronze Medal, Jeypore Exhibition Kalian Khar. Kamnigar (armourer), Jey- pore, Rajputana Do. do. Nur Buksh . Panne Khan Miran Buksh, Bagrawala Mowla Buksh Amir Buksh Mahomed Buksh . Davee Sahai and Chamba Do. Do. Do. Do. Do. Do. Merchants, Amritsar, Punjab Mull Names not known Kuftgars, care of the Diwan, or Minister, Sirohi State, Silver Medal, Jeypore Alla Jawaya. Western Rajputana Bhera, Shahpur District, Stone-handled Cutlery Punjab Khoda Buksh Do. Mahomed Din Do. Suraj Din Do. Leather Shields . Purshottam . Khushal and Khushal Ahmedabad III. Damascening Dhanji Principal School of Art. Jeypore, Rajputana ForTrue Damascening, Bronze Medal, Workman, Mahomed Azitn Calcutta, 1882 Futteh Din . Sialkot, Punjab . Gold Medal, Jeypore Exhibition Azim .... Kuftgar (damascener), Guj- Silver Medal do. rat, Punjab Ibrahim Mahomed Do. Bronze Medal do. Ghulam Basul Do. Certificate, Simla, 1881 Mahomed Azim . Do. Do. do. Mir-u-din Do. Do. do. Ibrahim Do. Do. do. Address, The Kuftgars, Sirohi, Western Rajputana . True Damascening. Bold Inlaying in care of the Diwan Sword Hilts Gulab-u-ain Kotli Loharan, near Sialkot, Do. Punjab Silver and Bronze Medal, Calcutta, Incrustation. Chilambrum Puthen Suda Shiva Devai, Tanjore . 1882 ; Certificate, Simla, 1881 Subra Money Puthen . Do. Certificate, Simla, 1881 Raseen Puthen . Do. Silver Medal, Jeypore Imitation Bidri Work . Chand Khan Lucknow .... Two Silver Medals, Jeypore Mahomed Ali Do. Certificate, Simla, 1881 Kalappa Bidar, Hyderabad, Deccan . Jeypore, Rajputana Silver Medal, Calcutta, 1882 IV. Work in Base Metals Principal School of Art Engraved and Pierced Brass. Bronze Medal, Calcutta, 1882 ; Silver Medal, Jeypore Exhibition Suraj Buksh Do. Bronze Medal, Jeypore Exhibition Chutta Jeypore .... Certificate do. Shunkar Care of Executive Engineer, Silver Medal. Finished Work in Brass . Jeypore Bronze Medal, Calcutta, 1882 Mahomed Azim, School Jeypore .... of Art Do. do. Benares Brass Umrit Lai, Kala Pershad Benares .... 1 INDUSTRIAL ART AT THE JEYPORE EXHIBITION. Chapter and Class Names Addresses Remarks Buldeo Dass Benares, care of Director, Bronze Medal, Calcutta, 1882 ; also Sil- Mythological Figures, Bapu Moreshwar . Dept. Agriculture and Com¬ merce, N.W.P. and Oudh Poona ver Medal for Metal Ware generally Moradabad Ware Mukan Lai . Moradabad, N.W.P. . Silver Medal, Simla, 1881 Mahomed Yar Khan . Do. Bronze Medal do. Sham Lai Do. Certificate do. Pierced Brass Work Mr. de Forest Wood-carving Company, Silver Medal, Jeypore, 1883 Copper Work, Repousse Vishnath Dungare and Ahmedabad Poona .... Bronze Medal do. Ornament V. Gold and Silver Plate Co. Industrial School, Ran- British Burmah . Gold Medal do. and Plated Articles goon Sultan .... Bagroo, near Jeypore . Bronze Medal, Jeypore Nand Kishor Teypore .... For Engraved Silver, Certificate Pani Lai Ulwar. .... Engraved Silver Kasinath School of Art Jeypore Do. Engraved Silver. Extra Prize, Jeypore. Magganbhai Hatti Singh Ahmedabad Silver Medal for Enamel do. Bronze Medal do. Sawal Das . Lucknow .... Silver Medal for Enamel, Simla, lS8i Subhana New Bazar, Kashmir . Bronze Medal, Jeypore, 1883 Parcel-gilt Silver Plate . Different makers . At Sironj, Chabra Perawa, and Tonk. Address, Diwan, Tonk State, Raj- putana Bhuj Silver Medal do. Kutch Work Omersing Mawji . Silver Plate . Jaradi Davekur Kanji . Harji Ratanji Messrs. Taffer Suleiman Do. Do. Bombay VI. Kashmir Work in and Co. Messrs. Cursetji and Sons Subhana Ahmadnagar New Bazar, Srinagar, Kash- Silver Medal, Jeypore, 1883 ■ Base Metals, Enamels, & c. Habibju mir Do. Bronze Medal do. Davee Sahai and Prab Amritsar, Punjab Bronze Medal do. Dyal Davee Sahai and Chamba Do. Certificate do. Mull Lussoo New Bazar, Srinagar, Kash- Do. do. Copper Ware, including * Lussoo nur Do. Special Silver Medal, Jeypore, 1883 Niello i VIII. Enamel on Gold Kishen Lai . Jeypore .... Gold Medal do. Plate and Jewellery Workmen employed by Jeypore. Orders through Lala Silver and Bronze Medals, Jeypore, Kasinath Kasinath, jeweller, Jeypore 1883 ; Silver Medal and Certificate, Lala Kasinath Jeypore .... Calcutta, 1883 Silver Medal, Simla, 1881 Giima and Geesa Singh Do. Certificate do. Guma Singh Do. Silver Medal, Calcutta, 1883 ; Certifi- Salik Ram . Delhi. cate, 1883 Certificate, Simla, 1881 IX. Jewellery, Plain Kasinath Jeypore Gold and Silver Habibju New Bazar, Srinagar, Kash- Subhana Jail Factory. Do. Jeypore .... Silver Medal, Jeypore, 1883 Ram Sahai . Monghyr .... Certificate, Calcutta, 1882 Diamond-cut Silver Mukand Lai Sarnakar . Rajshahye, Bengal Do. do. Cuttack Filagree . Mani Jethi, Sonar Cuttack, Bengal . Do. do. Kapil Sonar Do. Do. do. Darjiling Work Goluk Sondr Darjiling .... Do. do. Swami Jewellery . Messrs. P. Orr and Sons Madras .... Gold Medal do. X. Ivory Inlay Sita Ram Etawah, near Kotah, Rajpii- Silver Medal, Jeypore, 1883 Patiala workmen . tana Address, Diwan, Patiala Bronze Medal do. Nabha do. Do., Nabha Do. do. ; Ivory Carving 1 Workman, Murshidabad Address, care of Dr. Shircore, Silver Medal do. Moung Nyein Murshidabad Mulmein .... Silver Medal, Simla, 1881 Figure Carving Fakir Chand Delhi . ' Gungula Chinna . Vizagapatam Bronze Medal, Jeypore, 1883 APPENDIX /. / o Chapter and Class Names Addresses Figure Carving Viranna Madras .... Fret Work and Engrav- VendapillaVirasilingum Do. ing in Ivory and Horn Akaji Papaya Do. Carving Juma .... Jodhpore .... Figures School of Art Jeypore .... Ivory Inlay . Ata Mistri . Gulam Hussain, Hoshiarpur, Kuniya Lai Bhabra Punjab Hoshiarpdr Bombay Inlay Jamasji Sorabji Billimora, Surat, Bombay . Cowasji Muncharji Do. Ivory Figures Lalvihari Mistri . Hatibagan, near Baluchar, Fret Work, &c. . Sevacotty Chendriah . Murshidabab, Bengal Vizagapatam, Madras . Figures Bhiva Mistri Poona Ivory Bracelets . Mahomed Sayyid. Ajmere, Rajputana XI. Wood Carving Workmen employed by Address, care of Mr. Growse Inlay Brass Wire on Mr. Growse, C.I.E. Durga Mistri Mynpuri, N.W.P. W ood Furniture, &c. Magganbhai Hatti Singh Wood Carving Company, Fazal Din, and others . Ahmedabad Bhera, Shahpur, Punjab Thackar Mistri Simla, Punjab Mobarak Din Chiniot Jhang District XII. Lacquer Workmen at Indargarh Indargarh, Kotah Kuniya Lai Bhabra Hoshiarpur.... Workmen Khandela, Jeypore. Address, School of Art School of Art, J eypore Do. Fruit .... Chinna Jeypore do. School of Industry Rangoon, British Burmah . Panels.... Moung Pa . Prome, British Burmah Nabi Bux Agra. Bowls .... Moung Shway Mag Pagan, Burmah . Sufdar Moghul New Bazar, Srinagar, Kash- XIII. Stone Work, Nathu Ram. mir Agra. Carving, and Inlay Sewa Ram . Do. Carving Models . Gunga Bux . Jeypore .... Sheo Narani Do. Tajmul Hussain . Do. Mythological Figures . School of Art Do. Govind Ram Do. Tujmul Hussain . Do. Figures, &c. , School of Art Do. ..... Gokul .... School of Art, Jeypore XIV. Pottery, Semi- School of Art Jeypore .... translucent, Glazed Mahomed Sharif . Jullandar, Punjab Bulandshahr workmen Address, care of Mr. Growse employed by Mr. Growse, C.I.E. Bombay School of Art Address, Manager Pottery Burian-ka-Katra, Delhi Bhola, Chinigar . Remarks Certificate, Simla, 1881 ; Bronze Medal, Calcutta, 1882 Bronze Medal, Calcutta, 1882 Silver Medal do. Certificate, Simla, 1881 Do. do. Bronze Medal, Jeypore, 1883 Certificate do. Certificate, Calcutta, 1882 Bronze Medal do. Silver Medal, Jeypore, 1883 Bronze Medal do. Bronze Medal, Calcutta, 1882 Silver Medal, Jeypore, 1883 Bronze Medal do. Do. do. Silver Medal do. Do. do. Certificate, Simla, 1881 Do. do. Bronze Medal do. Silver Medal, Jeypore, Bronze Medal do. Gold Medal do. Silver Medal do. Bronze Medal do. Silver Medal do. Bronze Medal do. Do. do. Silver and two Bronze Medals, Jeypore Silver Medal, Calcutta, 1882 Gold Medal, Jeypore, 1883; Silver Medal, Calcutta, 1882 Silver Medal, Calcutta, 1882 Bronze Medal do. Silver Medal do. VOL. I. EXTRACT FROM ADVERTISEMENT OF THE JEYPORE EXHIBITION, 1883 LIST OF CLASSES AND EXHIBITS, SECTION I.—RAW PRODUCE Textile Fibres—Cotton, Rhcea, Madar, used for making cloth, ropes, mats, paper, &c. Reeds used for making fans, thatch, &c. Woods and Timber. Prizes will be given for the best collections in each class, and due attention will be given to the modes in which the exhibits are named and put up. Mineral Kingdom. class Metals, Ores, Alloys. Mineral Substances used in making glass, pottery, 6cc. Fuels (none.) Building Materials. Mineral Substances in the rough state adapted for making ornaments, such as gems, and especially mica in sheets. Mineral Acids {none). Mineral Dyes, Colours, Ochres. Salts, such as Common Salt, Nitre. Mineral Drugs. Geological Specimens. SECTION II.—MANUFACTURES Cotton Stuffs, Chintzes, &c. Woollen Stuffs used for clothing. Carpets. Durries. Garments, exhibited as such, whatever the material. Goats’ or Camels’ Hair Stuffs {none sent). Silk Goods. Mixed Silk and Cotton Goods. Other Stuffs. Paper. Mats, Chicks, Basket-work. Embroidered Cloths. Gold and Silver Embroidered Cloths. Stamped Gold and Silver Fabrics. Do. of False Metal. Leather Work—Horse, Camel, Elephant, and Cattle Trappings. •Leather Work—Shoes and Belts. Brass and Compound Metal Work, plain and engraved. Iron Work, plain and engraved. Copper Work do. Swords, Daggers, Arms of all kinds, of Indian fashion and make. Gold and Silver Wire and Lace. Brocades. Damascening on Metal {.Bidri\ Kuft , Tah-i-nishan). Pierced Brass Work. Bookbinding. Gold Enamels. Silver do. Animal Kingdom. Food Stuffs. Drugs. Skins, Feathers, Leather, Bones, Wax, Horns. Fibres, Silk, Wool, Hair, &c. Substances used in Perfumery and Dyeing. Lac, Cochineal, &c. Vegetable Kingdom. Cereals—Wheat, Barley, Oats, Maize. Millets—Bajra, Jawar. Pulses—Mung, Mash, Moth. Grains and Seeds used in famine times. Grasses and Fodder Plants do. Roots and Seed Vessels do. Dried Fruits and Roots. Intoxicating Drugs—Opium, Tobacco, Bhan Vegetable Drugs. Spices. Sugar, Honey, &c. Gums, Gum Resins. Burning, Lubricating, and Esculent Oils. Fragrant Oils, Attars, &c. Oil Compounds, Soaps. Vegetable Dye Stuffs. APPENDIX II CLASS 64. Copper and Brass Enamels. 65. Gold Ornaments set with Gems. 66. Silversmiths’ Work. 66 a. Silver Jewellery. 67. Furniture, plain and carved, and Small Wooden Articles. 68. Inlaid Work in Wood and Ivory or Horn. 69. Do. in Metal and Wood. 70. Mosaic Work in Stone. 71. Carved Wood of every kind. 72. Lacquered Work in Wood. 73. Do. on Leather or Paper. 74. Carving in Ivory, Ebony and Horn. 75. Stone Carving. 76. Glazed Tiles. 77. Porcelain. 78. Pottery. 79. Unglazed Pottery. 80. Clay Models {figures). CLASS 81. 82. 83 - 84. 85 - 86 . 87. 88 . 89. 90. 91. 93 - 94. 95 - 96. 97 - Glassware. Native Musical Instruments. Do. Scientific do. Do. Agricultural do. Native Painting on Wood. Painting on Paper, Ivory, Cloth, &c. Calligraphy. Illuminated Manuscripts. Peasant Jewellery in Base Metal, &c. Photographs. Models not included in other classes Education. Lapidaries’ Work. Needlework. Antiquities. Design. Miscellaneous. Other classes may be added. All exhibits must have been made in India, and the preference will be given to articles in which the design is purely Oriental, and the maker a native of India. The Committee will give prizes in all classes in which exhibits of any merit are shown. The highest prizes will be awarded for new exhibits which are likely to be of agricultural and commercial value. Scale, of 1 1 . Crutch and part of Staff of Maharaja M&n Singh of Jeypore (Died a.d. 1615 ). Jade set with gems, and gold enamel. 2 . Ornamentation of the Staff shewn in detail. Drawn by Rakhi Chand, Murli. PLATE II l; |-]^«««iWTO«,U rt M&Sw- Hil trww»»w: fe»»))ww 5 Vrf'-v v f <™T5r'i&±m*»LAk v • M Jy Designs for Modern Enamel. 1. Three plaques of Pertabgarh quasi-enamel. 2. A salver of Jeypore gold enamel. 3. Three plaques of Multan silver enamel The remaining illustration a are border patterns of Jeypore enamel. Drawn by Hum Buksh , School of Art , Jeypore. '* e jLaJr / , PLATE III Portions ot a Sword and Scabbard, 30 years old. Hilt, steel inlaid with gold wire; Scabbard, wood covered with green velvet; Mounts, gold enamel. Armoury of H.H. The Maharaja of Ulwar, Kajputanfi. Draiun by Onkar, Rajput. ■ . . • ' : % I . PLATE IV Sword and Scabbard, 30 years old. Hilt, enamel on gold, set with diamonds; Scabbard, leather studded with precious stones; Mounts, enamel on gold. Armoury of H.H. The Maharaja of Ulwar, Baiputana. Drawn by Rakhi Chand , Murli. ■ ' . ■ ■■ . PLATE V = W rQ M o © bo^ '00 cS . g co S a 1 j © Eh © j> >>3 3 ^ =3 ^ HD CD O pH rH &Hr©l - 1-3 © - © '£■> S 3 b o S HO The Maharaja of Jeypore. Draivn by Lachhmi Narain , Brahman. PLATE VI Portions of a Khyber Knife, “ Chhuri ”; Handle, ebony; Sheath, brass; Mounts, Armoury of H.H. The Maharaja of Alwar, Rajputana. Drawn by Lachhmi Narain, enamel on silver. Brahman. PLATE VI I Fiont, buck, and side view ol the Sheath ot a Dagger, “ Chhura "; wood covered with gold, richly enamelled. Persian work; formerly the property of Zalim Singh, Regent of Kotali and founder of the Jhalawar liouse. Armoury of H.H. The Maharaja of Jhalawar. Drawn by Sohan Lai, Kumar, or potter. PLATE VIII Water Bottle, “ Surahi ” ; Silver enamelled. Value, Rs. 85, As. 8. Made at Bahawalpur, Punjab. Drawn by Pam Buksh , Master , School of Art, Jeypore. I 11 I 119 III WM I . Scabbard of a Hunting Sword; gilt brass and niello. Armoury ot H.H. The Maharaja ol Jeypore, liajputana. Drawn by Hari Bam, carpenter. PLATE X Shikargah, or Hunting Sword. The figures on the blade are raised and outlined in gold. (Only the upper part of the blade is shown). Armoury ol H.H. The Maharaja ol Jeypore, Draivn by Chandra , Saraugi or Jain. one side of llajputana. Daggers “ Peshkabz" ; Handles, all jade. 1. Sheath covered with red velvet. 2. Sheath covered with °° green velvet. 3. Sheath covered with red velvet. 1. 2. 4. Jeypore Armoury. S. Thaku Fateh Singh, Jeypore. 1. 2. 4. Drawn by Narayan , carpenter. 3. Drawn by Raghnath , Potter. PLATE XII The hiok naclded Coat with four body pieces of plate Armour (termed “ Char aind or the lour mirrors). coat is studded with gilt pins and bosses; Helmet, steel inlaid with gold; Coil, fine chain steel, wi pattern 1 “liSl Armoury of H.H. The Nawab of Tout, Central India. From a photograph and drawings by Pidri Lai. PLATE XIII Breast-plate, steel inlaid with gold wire and embossed; Straps, skin of the Sambar deer (Rusa Aristotelis) Armoury of H.H. The Maharaja of Jeypore. Drawn by Sohan Lai, potter. PLATE XIV Coat of Maharaja Sawai Jai Singh, founder of Jeypore (Jai-pur); silk and gold, embroidered with silk. Property of H.H. The Maharaja of Jeypore. From a photograph and drawings by 1 lari Lai. ' H , . ■ PLATE XV 1. Powder Flask; Buffalo horn and ivory. The cap is carved with figures. Siva riding on the hull Nandi, and Parvati (the goddess Durga, Kiili, &c.) mounted on her vehicle—the Tiger. 2. The same Flask (side view) on a reduced scale. Armoury of H.H. The Maharaja of Jeypore, Rajputana. Prawn by Murli , Carpenter. r • - • ■ J .V - ■ PLATE XVI Powder horn. Buffalo horn inlaid with ivory and mother-o’-pearl. Made by Sita Bam at Etawah near Kotah. Draivii by harayan Carpenter. The opposite side of No. 1. Drawn by Hari Ham Carpenter. PLATE XVII §§j|| 1. _ ink Stand and Pencase. Silver. Property of H.H. The Maharaja of Jeypore. 2. Centre Piece Perfume-holder (’atrdan) and tray for betel, and spices, from Tonk, Pirdwah District , silver, parcel-gilt. From photographs by Corporals Stroud and Futcher, BurJci. PLATE XVIII 1. Tumbler, from Bikanir, silver, chased and engraved. 2 Water vessel ( Abkhora ) from Jeypore, silver— Exhibited by Lala Kasindth. 3 . Perfume stand and cup (’atrdin) Tonk, Chabrah District, silver, parcel-gilt. 4. Salver, Silver-niello.—Exhibited by Lala Kasinath, Jeypore. 5. Salver, from Tonk, Chabrah District, silver, parcel-gilt. From photographs by Corporals Stroud and Futcher, llurki. PLATE XIX 1 and 2. Vase; wood, lacquered and painted. Made at Srinagar, tlie Capital oi Kashmir. 3 and 4. Poitions of two Bamboo Maces, lacquered and painted. Old work. Armoury ol H.H. 1 he Maharaja ot Jeypore. L and 2. Drawn by Sohan Lai, Potter. 3 and, 4. Drawn by Ragonath, Potter. PLATE XX :C * . ^ 4 ^ * %T\ %3j?5 s a jBWIpk *• )■* * * >Mx MOK aa Bedstead Legs; wood, painted and lacquered. 1. From with ivory. 3. From Bikamr; raised ornament. by Chandra, Saraugi or Jain. Srinagar, Kashmir. 2. From Bikanlr; inlaid 1. Drawn by Kana, Potter. 2 and 3. Drawn Carvings in white marble, from Jeypore-Rajputana. Lachhmi Nrirayan, or Vishnu and Lachhmi (Hindu deities), coloured and gilt. 2. Maha Lachhmi. The Hindu goddess of abundance. 3. Model of a temple of Mahadeo or the god, Shiva. From photographs by Corporals Stroud and Futcher, Burki. PLATE XXII W. Gri^fcs. Dioto lilh . Lon/lou. S.E.I Three carved panels in wood, copied by the Abmedabad Wood Carving Company, from stone windows at Ahmedabad. From photographs hi/ Corporals Stroud and Eutcher. Purlii. ELATE XXIII XXIII. Small shrine of white marble from the quarries of Makrana, Jodhpore, in which is placed a painted and gilded white marble image of the demi-god Hanuman. Made at Jeypore, Bajputana. Box; Brass. Floral repousse pattern, similar to that used for silver plate at Kutch. Made at Poona, for Messrs. Vishnath, Dungari and Company. 2. Water Vessel, “Lotah”; Brass, hammered ornament enriched with incrusted bands of copper. Old Tanjore or Tirupati work. 3. Water Vessel; Copper, ornamented with silver crustce. Modern Tanjore. PLATE XXV Tray; Engraved Brass. Old Moghul period Parcel-gilt silver Jug. Cashmere. 2. Water Bottle, “Surdhi”; Copper, gilt and enamelled. Cashmere. 3. Cup and Cover for spirit drinking; Silver with ornament in gold. Made on the estate of The Thiikur of Bagru, of Jeypore. Outlines of ornament on a silver Tea Service. Engraved by Nund Kishore, Jeypore , and by Pani Lai , Ulwar. / PLATE XXVIII Two Vases of semi-translucent pottery. School of Art , Jeypore. PLATE XXX Outlines of decoration of Six Plaques of painted and lacquered papier raache. Sufdar Moglml Srinagar , Cashmere. PLATE XXXI Outlines of decoration of Six Plaques of painted and lacquered papier mache. Sufdar Moghul Srinagar, Cashmere. PLATE XXXII Hunting the Wild Boar. Copy of au old Persian painting belonging to H.Ii. The Maharaja of Jeyporo. PLATE XXXIII A Garden Feast. Copy of an old Persian painting belonging to H.H. The Maharaja of Jeypore. PLATE XXXIV Story Telling. Copy of an old Persian painting belonging to II.II. The Maharaja of Jeypore. PLATE XXXV A King giving Audience to his Ministers. Copy of an old Persian painting belonging to H.H. The Maharaja of Jeypore. PLATE XXXVI Portrait of a Soldier. Copy of an old Persian painting belonging to H.Ii. The Maharaja of Jeypore. PLATE XXXVII The Emperor of Delhi giving Audience to his Courtiers from the “ Jarokha ” or Upper Window of a building or tent prepared for the purpose. Copy of au old Persian painting belonging to IiH. The Maharaja of Jeypore. ■ PLATE XXXVIII Battle Scene and submission of a Conquered Chief. Copy of an old Persian painting belonging to H.H. The Maharaja of Jeypore. _ PLATE XXXIX The Dog Worshipper (a Persian Story.) Copy of an old Persian painting belonging to H.H. The Maharaja of Jeypore The reasons for including reproductions of the illustrations of the Razm Namah in the ‘ Memorials of the Jeypore Exhibition ’ are given at length at page 3 of the Introduction It is only necessary to state here that the text is a very condensed abridgment of printed and manuscript translations of the great epic. The plates are about half the size of those in the original work. Two have been carefully reproduced in colour, in order that some idea may be formed of the beauty of the finished paintings. T. H. HENDLEY. o THE RAZM NA MAH, OR HISTORY OF THE WAR. English are given by Halhed, by whom, through the Persian medium, Europe was first made acquainted with the Mahabharata, which, from the then imperfect knowledge of Sanskrit, could not be well studied in the original. There is also in the British Museum a copious MS. English precis of the Razm Namah, chiefly taken from Halhed’s notes by the Rev. J. Hindley. The writer is indebted to this for some of the episodes noticed hereafter. The Jeypore Razm Namah, written by Khwaja Inayatullah on paper from Dowlatabad, 1 contains 169 full-page miniatures, magnificently drawn and illuminated in the highest style of Persian art, far superior to those in Halhed’s copy or to anything of the kind in the British Museum. This may well be believed when it is known that four lakhs of rupees (at the time far more than equivalent to 40,000/.) were said to have been paid to the artists for the illustra¬ tions. The payment of such a sum is not incredible ; it represents the salary of the painters engaged upon the work, and is paralleled by a case which occurred within the last fifty years at Ulwar, where Maharaja Banni Singh gave at least 50,000 rupees as salary to a man who prepared a famous copy of the Gulistan, which was exhibited at Jeypore by the side of the Razm Namah, and contained but a small number of miniatures. The exact date at which the work came into the possession of the Jeypore house is not known, but from the impression of a seal on the last page it would appear that it was in the Imperial Library at Delhi as late as the reign of Shah Alum, a.d. 1759-1806. A facsimile of this page is given. 2 It bears the impress of eleven seals, five of which, however, are illegible. The remaining 1 six read as follows :— <_> 1. Sadikullah Khan, Bandeh Shahjehan ; 2. Mohobbe Alii, Bandeh Akbarshah ; 3 and 4. Arshed Khan Khanejad, Shah Alum, Padshah Gazl ; 5. Abdul Hak Bin Kasim Shirazi; 6. Futehullah Bin Abril P'ateh. The seals were affixed by the Imperial librarians, and denote that they had become responsible for the book. It belonged therefore to the great emperor Akbar and to the emperors Shah Jehan and Shah Alum. The book was no doubt one of the earliest written, if indeed not the first. It is indeed highly probable that it was Akbar’s own copy, as the illustrations were prepared by the greatest artists of his day, who have affixed their signatures to the paintings. The following are the names of the great artists of Akbar’s time as given in the Ain-i-Akbari (Blochmann’s translation) :— 1. Mir Sayyid Ali, of Tabriz ; 2. Khajah Abdul Samad-Shirazi ; 3. Daswanth, the first master of the age; 4. Basawan, who so excelled in back grounding, drawing of features, distribu¬ tion of colours, portrait painting, and several other branches that many critics preferred him to Daswanth ; 5. Kesu ; 6. Lai ; 7. Mukand ; 8. Mushkin ; 9. Farrukh, the Kalmak : 10. Madhu ; 11. Jagan ; 12. Mohesh ; 13. Khem Karan ; 14. Tara; 15. Sanwlah ; 16. Haribans ; 17. Ram. 3 With the exception of the first two and the sixteenth, all the artists in the above list were engaged upon the Jeypore Razm Namah. There is still further evidence that the artists employed were the most celebrated of Akbar’s time. Sir Gore Ouseley, in describing his copy of the Beharistan (Abode or Season of Spring) of Abdurrahman Jami, the most beautiful manuscript in his famous collection, states that sixteen artists were worked upon it. Amongst these Madhu, Basawan, Mushkin, Mukund, and Ldl were noted for coloured paint¬ ings, and Babu for drawing animals. Now Babu painted one of the Pazm Namah illustrations, in which the monkey Hanuman’s features are most powerfully delineated, 4 and all the other men have left numerous examples of their skill in the famous Jeypore volume. 1 The Madhgari paper of Dowlatabad is very famous in India (Balfour’s Encyclopedia.) 2 Plate CXLVIII. See note, p. 42. 3 The spelling of the translation is adhered to in this place. 4 Plate XXI. THE RAZM HAMAH, OR HISTORY OF THE WAR. n o The Beharistan of Sir Gore Ouseley was prepared for Akbar in 1575, about seven years before the Mahabharata was translated. It was felt that the reproduction of the illustrations of so unique a work would be of value from many points of view. There is, moreover, a direct connection between the Mahabharata and Jeypore. As many of the incidents related in the work are believed to have occurred in Rajputana, and especially in the states now known under the names of Jeypore and Ulwar, anciently Matsya Des, or the Land of the Fish. Bairat, the country in which the Pandavas spent their thirteenth year of exile, belongs to the Maharajd of Jeypore. Exact facsimiles in colour of all the miniatures would have not only cost an immense sum, but would have taken many years to produce ; it has, therefore, been decided to confine the present publication to platinotypes of most of the drawings and to give only two in colour, to enable a judgment to be formed of the style in which the original work is executed. With few exceptions, due to insignificance of the subject, all the miniatures are reproduced in this volume. Sufficient description of the incidents illustrated is given to enable the story to be understood. To attempt to do more would be useless to students of the original, and to the general reader the analysis of Professor Monier Williams in his ‘ Indian Epics,’ and the lengthy abridgment of the Mahabharata by Mr. J. Talboys Wheeler in his ‘ History of India,’ would be of far more value. In short, the plates may be considered as the illustrations of such works. It will be observed that the artists of the Jeypore Razm Namah have preferred to illustrate the episodes rather than the main story of the war. For a full account of these the writer is indebted to the MSS. left by Professor H. Wilson, now in the India Office Library, and to the Rev. J. Hindley’s precis in the national collection. He has also consulted the French translation of the first ten books of Mons. Hippolyte Fauche, which learned authorities consider to be very faithful. Pundit Braj Balabh, head clerk of the Jeypore Museum, assisted by the Persian translator of H.H. the Maharaja of Jeypore, has also furnished him with short descriptions of the plates. There are several points of importance connected with the illustrations. They show how easily the native of India reconciles the supernatural with the actual facts of history. To him there is nothing astonishing in the combats between men and demons, in the bodily presence of the gods, in the intelligence of monkeys and bears, or in the fabulous nature of the events recorded. He draws them on canvas, and represents the principal episodes on the stage. In the great Hindu courts, at certain seasons, what may be truly termed miracle plays are performed, in which some of the actors are dressed as deities and others as engine drivers, police¬ men, and commonplace persons of the present day. Thus, lor example, at Jeypore the circum¬ stances attending the appearance of two of the incarnations of Vishnu—Narsingha, the man-lion, and Varaha, the boar—are represented in the main street of the town about the month of May. Masked figures act the parts of the gods and heroes, and are actually adored by the people as they pass along the streets. To Hindus there is nothing unreal in the performance, although imme¬ diately after the appearance of the man-lion incarnation from the paper representation of the alabaster pillar out of which he is said to have sprung a model of a modern engine, driven by a sham Englishman, passes the god as he runs down the road. So also the court artists of Akbar’s time have seen no incongruity in clothing the heroes of the great war in Persian armour, or in depicting buildings in the Moghul style of architecture of their own days in the midst of the battle scenes of ancient India. These peculiarities have, how¬ ever, their especial value, as they present in many instances an exact picture of the life of the people at the culminating point of the Moghul supremacy, and prove, to those who know India of the present day, how very slight have been the changes in the domestic condition of the natives of the country during the past three centuries, at all events in parts remote from British 4 THE RAZM NAMAH, OR HISTORY OF THE WAR. cantonments. It is in this living relation to the past that the study of the Indian epics is of so much value. The people crowd into the temples to hear some famous Pundit or teacher read extracts from them ; they quote them repeatedly ; they study for themselves the popular versions, and above all they believe in them and understand them as if they referred to the events of yesterday, and indeed the history of modern India is not half so present to the minds of many as the story of the past revealed in those picturesque narratives. For one man who can give the names of the four greatest Moghul emperors twenty can recount the genealogy of Rama or the prominent events of the great war. MAHABHARATA. HE Maha-Bharata, or Great Bharata, is the history of the descendants of an ancient king of India, called Bharata, and particularly of a great war waged between two branches of his family, the Pandavas or sons of Pandu and their cousins, the Kauravas (Kurus) or children of Dhritarashtra. The story of the great war is told in about 24,000 verses, but it is so overlaid with episodical matter, that the poem has attained the length of about 100,000 verses of thirty- two syllables each—or, according to Professor Goldstucker—about seven times the bulk of Homer. Some of the episodes are of great antiquity, others again are comparatively modern. The ancient narrative of the great war of the Rajputs has been told by the Brahmans, who have modified it, or engrafted upon it episodes to glorify themselves and their own religious ideas. How much of the work is history, and how much fiction, it is therefore impossible to say. The Razm Namah is an abridgment of the whole, and contains several stories which are not found in the ordinary printed text of the Mahabharata, as, for example, the romance of Chandrahasa and the full account of the horse sacrifice of Raja Yudhishthira. 1 It will only be necessary to give a short account of the main story and of those episodes that are illustrated in the Jeypore copy of the work. The illustrations of the British Museum version differ almost entirely from them. Parikshit, grandson of Arjuna, one of the heroes of the great war, when hunting, shot a stag which suddenly disappeared. A holy ascetic, when asked by the king where the deer had gone, did not reply, being under a vow of silence. Parikshit, in ignorance of this fact, in anger threw a dead snake round the saint’s neck, and was afterwards cursed by his son, who said that the serpent- king, Takshaka, would kill the king in seven days. The Rdja, in spite of all precautions, was bitten by the snake, and during the interval between the bite and his death, the whole of the Bhagivat Purdna (the Hindi Prem Sagur, or Ocean of Love), which includes the history of Krishna, is said to have been recited to him. His son, Janemajaya, performed a great sacrifice—or Sarpa- sa t ra _f or the destruction of the snakes, and, in the course of the different ceremonies, Vyasa, a renowned saint and connection of the family of Bharata, who was conversant with the whole history of the war, was requested to narrate it, but, being old and infirm, he deputed the task to his pupil, Vaisampayana. The work is divided into eighteen books, besides which there is a supplement containing the history of Krishna and his race. The story opens with the genealogy of the Bharata family which was descended from Atri, one of the seven great Rishis or Sages, through his son Soma—the Moon. Yayati, the seventh from Atri, had two sons—Puru and Yadu—who became respectively the ancestors of Bharata with the Pdndavas and Kauravas, and of the Yadavas or race of Krishna and 1 Thus writes Dr. Goldstucker, in referring to Mr. Wheeler’s account of the Mahabharata, in which these stories are included. They are, however, given in Professor H. Wilson’s translations in the India Office library and in the Jeypore Razm Namah. 6 THE MAHABHARATA. Balarama, who were reputed to be incarnations of Vishnu. The Rajas of Kerauli and Jeysulmer in Rajputana pride themselves upon being the representatives of the lunar race of kings. The following table will be of value in showing the relationship of the principal personages noted in the war :— Yayati Puru Dushyanta Bharata Hastin Kuru Santanu Yadu i Vrishni Devara a Andhaka Sura Vasudeva Kunti m. Pandu Krishna and Balarama = Satyavati Chitrangada (killed) Vichitra-virya, son of both, died childless Vyasa, son of Satyavati by Parasara married the two widows of Vichitra-virya Bhlshma, son of Santanu by Ganga Dhritarashtra = Gandhari Kunti = Pandu = Madrl Kama Vidura Nakula Sahadeva Duryodhana, Duhsasana, and 98 brothers Yudhishthira Bhlma Arjuna. 1 FIRST BOOK. Adi parva. N the first book of the Mahabharata, or Adi Parva, the early youth and educa¬ tion of Dhritarashtra and Pandu are described. The former was blind, and, therefore, not eligible as king. Pandu, however, although a famous warrior in his early years, did not wish to undertake the duties of a sovereign, as he preferred the pleasures of the chase ; he therefore retired to the woods with his wives Kunti and Madri, and left the cares of government to Dhritarashtra and to Bhishma, his venerable kinsman and tutor. Pandu had five sons, and his brother a hundred, with one daughter by his queen Gand- hdri. The Pandavas, or children of Pandu, after the sudden death of their father, and the burning of Mddri on the funeral pile, were brought by Kunti and a number of Brahmans, who resided on the mountain, where Pandu used to hunt, to Hastinapur, a place on the Ganges, about sixty miles from Delhi, the capital of their uncle, where they were received with apparent sorrow, and brought up with their cousins, the Kauravas, whom, however, they excelled in all points, thereby exciting much ill-feeling. 2 1 Taken from Professor Monier Williams’s abstract. 2 Plate I. Artists’ names not given. The hundred Kauravas were all—with the exception of Duryodhana, who was a month older—of the same age ; Gandhari is said to ADI PARVA. 7 Bhima especially excited their wrath, as he was very strong. He would often wrestle with all the sons of Gandhari at once. On one occasion, when they were in a tree, he took hold of the stem, and shook it so violently that they were very much alarmed. 1 Duryodhana, the king’s eldest son ; Kama, the reputed son of a charioteer, but really the child of Kuntf by the sun ; and Sakuni, the maternal uncle of the Kauravas, devised various schemes for killing the Pandu princes, but none were successful. Drona, a learned and powerful Brahman, who understood the use of warlike weapons, taught all the princes the accomplishments proper to their position. His favourite pupil was Arjuna, who, indeed, on one occasion, saved his life when he went to bathe in the Ganges, by discharging five arrows against a crocodile who had dragged his teacher into the water, and so released him from the reptile. 2 Drona is said to have allowed the crocodile to seize him merely to test his young disciple’s powers. In return for his assistance he gave Arjuna a wonderful arrow, which would produce fire when discharged. It was only to be used when all other means failed. As a reward for his services, Drona required that his pupils should punish his enemy Draupada, King of Panchala. This was done to his satisfaction, and afterwards Yudhishthira was installed as Yuvaraja or heir apparent, and distinguished himself in the field. The Pandavas had also greatly excelled their companions in feats of arms in a tournament. The citizens, moreover, proposed to crown Yudhishthira at once. The jealousy of the Kauravas was therefore again aroused, and the eldest brother, Duryodhana, induced his father to send his cousins to Varanavata (Allahabad) to be present at a festival there. At this place, Duryodhana had caused a house to be prepared for them. It was filled secretly with all sorts of combustibles, which he proposed to set on fire while his cousins were sleeping in it. They were informed of the plot, and escaped by a secret passage, which the faithful are shown to this day in the fort at Allahabad. A Bhil woman and her five sons, who had been invited to a feast by the Pandus, having been consumed in the burning structure, the Kurus (Kauravas) supposed that their scheme had been successful, and the Pandava princes, fearing further persecution, for the while, did not undeceive them, but wandered in the woods, where they met with various adventures. Yudhishthira, the eldest of the five brothers, was famed for his justice and virtue; Bhi'ma for his enormons strength and voracious appetite ; while Arjuna was the type of all that was noble and valiant in the soldier. The two youngest, Nakula and Sahadeva, are often spoken of as the twins. While wandering with their mother in the forest of Bhildwat, the land of the Bhils, the Pan¬ davas were met by a female demon or Rakshasf, who was able to assume various forms, some of them beautiful. She became violently enamoured of Bhima, but her brother Hadimba attacked the have produced a piece of flesh, which the sage Vyasa divided into one hundred and one pieces, and then placed them in jars. In due time a hundred sons and one daughter were born from the vessels. The resemblance of the brothers is thus explained, and also the otherwise apparent anomaly of their being all of the same age. Duryodhana carries a mace. Plate II. Artists’ names not given. The figure seated on the throne is Dhritarashtra ; Yudhishthira stands on the platform ; Bhima, who comes next, is distinguished by his mace and powerful frame ; Arjuna, the third brother, carries a bow; the twins, Nakula and Sahadeva, stand close to their mother Kunti, who wears all her ornaments, although a widow. 1 Plate III. Artists : Tulsi and Muni. The Kauravas climb into a banyan-tree (Ficus bengalensis ). Bhima and some of the others wear round the upper arm silk bracelets with tassels called Rakhi, which are generally worn at the full moon of Sawan (July-August) in honour of Krishna. Round their necks are placed rosaries of beads of Tulsi, sweet basil, Ocymum sanctum , a plant sacred to Vishnu, and the sacred threads (Janeo) which are worn by the three upper castes. Bhima is armed with a dagger, Chilldnum , such as is used in Southern India. 2 Plate IV. Artists : Lai and Sanvala. Drona has left his asan, or tiger-skin seat (used by religious devotees in imitation of Shiva or Mahadeo), his waterpot, and staff on the bank of the Ganges River. Arjuna wears a garland of flowers in token of rejoicing. The artists, always true to nature, have represented the crocodile as the Gavial, or Gavial gangeticus. It is an old male with a large pro¬ tuberance on the snout, which contains air, and enables it to remain longer under water than other members of the same family. 8 THE MAHABHARATA. party while all but Bhi'ma slept. A fearful struggle ensued, in which the combatants used trees and rocks as weapons, and finally the hideous monster was slain, his sister becoming the wife of the conqueror, and in due time bearing him a son who was named Ghatotkacha. 1 The family then retired to the house of a Brahman in the city of Ekachakra, where they lived disguised as members of the priestly caste, on alms, half of which had to be given for food to Bhfma, who again distinguished himself by slaying another demon named Vaka, who used every day to devour one of the citizens. Shortly after this, the Pandavas were directed to proceed to the court of Draupada, whose daughter, Draupadf, was about to hold her Swayamvar, or public choice of a husband, in which she was to become the prize of the victor in a trial of skill at archery. In this case five arrows were to be shot in succession from an enormous bow through a revolving ring into a mark—the left eye of a golden fish at the top of a pole. None of the assembled Rajas could bend the bow. Kama—the reputed son of the Charioteer—drew it, but was not allowed to shoot, as Draupadf refused to wed a man of such ignoble origin. Arjuna, in his Brahman’s guise, now advanced, and, fitting the arrow to the string, pierced the mark, which he viewed reflected in the troubled contents of a heated cauldron placed at the foot of the pole. 2 The disgusted suitors fought with the conqueror and his brothers, but were unsuccessful in preventing Arjuna from carrying off the prize—who became the common bride of the five Pandu princes. This extraordinary marriage (a similar custom is observed amongst some of the Himalayan tribes to this day) is explained by Vyasa—the author of the Mahabhdrata—as having a mystic meaning, and as being the result of destiny. By this alliance the Pandavas became so powerful that their uncle thought it advisable to divide the kingdom with them, and therefore gave them the district round Delhi, where they founded a capital under the name of Indraprastha. About this time Arjuna retired to the forests, as he had unwittingly broken a rule of the family. Here he had many extraordinary adventures, and married the serpent-nymph Ulupf and the daughter of the King of Manipura. He also, with her brother’s permission, abducted and married Krishna’s sister, Subhadra, who was to have been united to another king, and by her he had a son, named Abhimanyu, who became the father of Parikshit. On another occasion, while bathing in a tank, his foot was caught by a crocodile, which he dragged out of the water, and thus released a celestial nymph, or Apsara and her attendants, who had been con¬ demned by a saint, whom they had attempted to seduce, to live as reptiles, until Arjuna’s appear¬ ance. 3 Arjuna and Krishna were also able to help Agni, the god of fire, in a struggle with Indra, the king of heaven. This friendly act was of much use to them in the future war, as they were provided by the god with celebrated weapons, and at a critical moment assisted by him in person. 1 Plate V. Artists : Lai and Makhlis. The demon in this and most of the plates is represented as contemptible as possible in form and dress. His ornaments are strings of dog- bells and aboriginal bracelets. The demons were in reality rough aborigines, and as such are usually drawn with horns, claws, and skins like those of animals. Kunti, though a widow, still wears her jewels, and both women have their long hair braided into queues, chonti. The Pandavas have the sec¬ tarian marks of the worshippers of Vishnu on their foreheads. 2 Plate VI. Artists : Daswant* and Kesho. Arjuna wears not only the Brahmanical thread, but a garland of flowers. His task is made the more difficult as he is only allowed to see the reflection of the fish in the troubled con¬ tents (oil) of a heated cauldron. The degh, or cauldron, is of the kind now used for preparing large quantities of * Daswanth (Daswant) was the son of a palki-bearer, who devoted his whole life to the art, and used, from love to his profession, to draw and paint figures even on walls. Unfortunately, the light of his talents was dimmed by the shadow of madness, he committed suicide. He has left many masterpieces.—( Ain-i-Akbari , Blochmann’s transla¬ tion.) food at caste feasts. Such trials as that of Arjuna were common amongst the people of Central Asia, especially the Turanian races. For example, the Khan of Kharazm, in his account of the Tartars, says that the son of Oguz—the fourth from Tatar and Mogul (the melancholy man)—made his children shoot a golden hen on the top of one tree, and a silver hen on the top of another. Most of the men in the distance are Vishnuis, as they wear the sectarian marks of that sect. The princes wear pagris or turbans, and the Brahmans have their hair tied in top-knots such as are worn by Meenas and the men of some aboriginal castes at the present day. The Rajputs also use girdles or kamarbands, and tell their beads as they watch, a custom many great chiefs still follow, even when apparently absorbed in business. The umbrella of sovereignty is held over the Raja. The courtiers all sit on a carpet. 3 Plate VII. Artists : Basawan and Gulam Ali. Throughout the Mahabharata and Ramayana stories similar to this are repeatedly told of persons cursed by great sages and condemned to remain in some low form until released by the coming of one of the heroes of the epics. sabhA parva. SECOND BOOK. SABHA PARVA. HE second book of the Mahabharata, or the Sabha Parva, is extremely interesting. In the first place is narrated an account of the Rajasuya, or great sacrifice, which a sovereign should celebrate at his inauguration, and which Yudhishthira, owing to recent conquests, felt entitled to perform, as he had now become a king. It was necessary, however, first to destroy a powerful chief named Jarasandha, King of Magadhd (Bihar) an enemy of Krishna, who had opposed that hero after his conquest of Kansa of Mathura. Bhima effected this by slit¬ ting the monarch in two, as he was said to have been born in two halves, from two wives of a Raja, which were united after birth, and it had been foretold that he could only be destroyed in this way. In Plate VIII., 1 Krishna will be observed slyly hinting to his friend, by splitting straws, how best to kill his foe. The great assembly now took place, and many kings attended to present tribute or gifts. All were in favour of offering a respectful oblation to Krishna, as the best and strongest person present, except Sisiipala, who declared his disbelief in his divinity, insulted him more than a hundred times, and challenged him to fight. Krishna, taking his divine form, instantly struck olf the head of his foe with his celebrated quoit or discus, called Sudarsana. 2 The glories of Yudhishthira, and especially of his beautiful palace, stirred up again the envy of Duryodhana who, with the assistance of his uncle Sakuni, contrived a plan by which the Kauravas hoped to secure the whole country for themselves. Yudhishthira was very fond of gambling, and was induced to attend a feast at Hastinapur and to play at dice with Sakuni. In Plate X. 3 the game is shown to be that known in the present day as Chaupar. T. he Pandu king staked and lost his territory, his brothers, and last of all his wife. The dice were said to have been loaded. Both Duryodhana and Duhsasana, his brother, insulted Draupadf, and the latter especially treated her with indignity ; he endeavoured to drag off her robes, but soon grew weary, as Krishna miraculously lengthened them as fast as they were removed. Bhima now swore that he would break the eldest Kaurava’s thigh and drink the blood of his brother. This vow, in due course, he fulfilled. The old king was compelled to interfere to prevent further violence, and decided that the Pandavas should go for twelve years into exile, and should so hide themselves for a thiiteenth year that no one would be able to recognise them. If they failed they were to return to the forest for twelve years more. 1 Artists : Lai and Bhagwan. Near the banyan-tree is a Tar, Palmyra or toddy-palm. Both trees are common about Delhi, especially the latter, which grows on saline or reh soils in Rajputana. Jarasandha is reported to have kept 2,800 kings in captivity. Possibly he was a Buddhist, as Bihar was the great centre of that faith. 2 Plate IX. Artists : Daswant and Ram Das. Krish¬ na’s divine form is here indicated by additional arms, because he killed his enemy in assertion of his divinity and used his mystic weapon, the quoit. The materials for the sacrifice are seen in the background. 3 Artists : Basawan and Danau. The game here played is known as ‘ Chaupar.’ Long ivory dice, and wooden or crys¬ tal counters are used, and the board is generally a cloth. The VOL. IV. Emperor Akbar played at Futtehpur Sikri on a great stone board with women as counters. The princes play on a Persian carpet, spread out on a terrace before a garden house, while the courtiers look on. Such a scene is common enough in the present day. The great tree on the left is the pipal or Ficus religiosa, beneath whose pointed leaves, which quiver at the slightest breath of air, it should be impossible to tell a lie. The small animals in the tree are Indian palm-squirrels, Macroxus palviaris. These little creatures are said to bear the impress of Rama’s fingers, in token of the service they did him in trying to fill up a gap in the bridge over which he crossed when going to Lanka. Perhaps no plate in the whole series more powerfully represents the varied emotions of the different persons present. C IO THE MAHABHARATA. THIRD BOOK. YANA PARVA. HE third book, or Vana Parva, describes the life of the Pandavas in the forest. It is one of the longest in the work, as it contains a great many episodes principally consisting of stories or instructions told by sages to Yudhishthira to comfort him in his exile. Thus a long description is given of the places of pilgrimage in India, with the special merit to be acquired from a visit to each of them. We have also an account of the delude, the stories of Nala and Damayantf, of Parasu Rama and his conquest of the Kshatriyas or Rajputs, of the life of Rama, and so on. Such of these narratives as are illustrated in the ‘ Razm Namah ’ will be briefly given. Some special adventures of Bhima are described, as, for example, an interview with his mythical brother Hanuman, who tells him the story of the Ramayan, and his visit to the gardens of Kuvera, the god of wealth, where grew flowers whose sweet smell would make the young old and convert sorrow into joy. Krishna, who visited the Pandavas when in exile, also described to Yudhishthira how Salwa, a companion of Sisiipala, had been slain. While Krishna was at Hastinapur, Salwa, in the hope of taking vengeance on the race of Yadu for the death of Sisupala, began to do penance to Shiva, who, pleased with his worship, granted him the boon of immortality, and presented him with a wonderful house or chariot which had the power of going to any place in the three worlds at the will of its owner. Salwa mounted the chariot and sped in hot haste to Dwaraka, where he greatly alarmed the inhabitants and defeated Pradiyumna, Krishna’s son. Krishna hastened to Dwaraka and engaged the enemy in battle, but was beguiled by his foe, who, by his illusive power, made a false representation of Vasudeva, the father of the hero, and cut off his head before him. Krishna, however, discovered the trick, and succeeded in slaying the demon. 1 It is also told how Arjuna, by the advice of Vyasa, went to the Himalaya mountains to obtain celestial weapons with which to overcome his cousins. He heard a heavenly voice which said that, if he succeeded in seeing the god Shiva, he would obtain his wishes. After a severe course of penance, Shiva rewarded him by appearing in the guise of a mountaineer, and, at the conclusion of a great struggle between the god and the hero, originating in a dispute as to who first shot a demon in the form of a boar, the deity granted Arjuna’s request. He was then taken up into Swarga—the heaven of Indra—where he was placed on the right of the king, his mythical father, and introduced to the joys of the Hindu heaven. 2 He remained some years in this blissful abode, learning the use of his new weapons. 1 Plate XI. Artists : Tulsi and Paras. The magical house or chariot of Salwa may remind the reader of the throne of Solomon, which moved wherever its owner wished. 2 Plate XII. Artists : Daswant and Banswari. Indra, the King of Heaven, is fabled to have a thousand eyes spread over his body. He wears a magnificent garland of flowers. The beautiful flowers are perhaps those of the Kalpa-briksha, the Parijata tree, which granted all desires, and grew only in the abodes of Indra and Shiva. The garden swarms with peacocks, birds sacred to Indra and to Jupiter, with whom he has another symbol in common—the thunderbolt which an attendant near the throne carries. Above the monarch is a red umbrella with a gold stick. Behind, in the niches in the wall, are placed vessels for wine or sweet essences. Gifts of all kinds are spread out on the platform, and attendants wave ‘ Chamaras,’ or fly-whisks, of the tail of the Yak, symbols of royalty. The musicians are females. The heavenly musicians are known as Gandharvas, the dancers as Apsaras ; the former told ‘ gathas,’ or moving stories. VAN A PARVA. 11 Duryodhana and the Kauravas desired to see for themselves the misery of their cousins and to annoy them by a display of their own magnificence, and so, on the pretence of marking their cattle, they visited the part of the forest in which their relatives resided ; but a band of the Gand- harva tribe took them prisoners, and they had to endure the mortification of being released by the Pandavas, the very men they went out to insult. The Pandu princes spent most of their time in hunting ; and one day, while they were absent in the forest in search of game, Jayadratha, Raja of Sindhu, who was on his way to marry the daughter of the King of Chedipur, saw Draupadi and attempted to abduct her. He forcibly placed her in his chariot and drove away ; but the Pandavas, having seen evil omens, returned home early, and were therefore soon on his track. They found their enemy and conquered him. Draupadi' was set free, and Bhi'ma caught the miscreant by the hair of his head and would have slain him, had not Yudhishthira ordered that his life should be spared. 1 2 With the exception of numbers XVII., XXIX., and XXX., the remaining plates in the Vana Parva refer to some of the numerous episodes which make this section one of the longest in the Mahdbharata. The stories will be narrated as concisely as possible. The first is the beautiful episode of Nala and Damayanti, which was told by the sage to the Pandavas to show that others besides themselves and Draupadi had suffered from bad fortune at dice. STORY OF NALA AND DAMAYANTI. Nala was a Rajah of the Bhil country, gifted with every virtue and with a person of much beauty ; but he was a great lover of dice. Damayanti was a princess whose charms were unsurpassed. She lived with her father, a terrible king of the Dakhan or modern Berar. Hearing each other’s praises, the two became desperately enamoured, and the fair Damayanti grew pale and sad, so that her father, thinking to cheer her by giving her in marriage, pro¬ claimed that he would hold a swayamvar or tournament at which she should choose a lord. Indra, Agni, Varuna, and Yama, the gods of heaven, fire, water, and death, descended to earth, and meeting Nala, who was on his way to the ceremony, told him to go to the princess and say that they were coming to woo her. Greatly against his will, he had to give the message, but Damayanti said, ‘ I will do homage to the gods, but wed alone with you.’ Now the deities, assuming the form of Nala, appeared with him at the swayamvar, but the princess would not have them, and prayed that the true Nala might be revealed to her. Admiring her fervent love, Indra and his companions displayed the signs of their divinity and she was able to recognise her real lover whose feet alone touched the earth and whose form alone cast a shadow. She threw a garland round his neck and became his bride, 3 but their peace was after¬ wards disturbed by the envious evil spirit Kala, who entered Nala’s soul, so that he lost his kingdom and his wife by playing at dice with his brother Pushkara. The husband and wife went into exile and there the evil spirit tempted Nala to abandon Damayanti. They were separated, and went through many trials, until at last, purified and strengthened by their sufferings, they were reunited, and Nala, having learned the art of dice-playing from a great master, King Ratu- parna, won back his kingdom. 1 Plate XVII. Artists : Miikund and Madho I. As usual, the bullock-driver runs away when there is danger. 2 Translated in verse by Dean Milman and Mr. E. Arnold, C.S.I., in his Indian Idylls-, and in prose by Mr. Bruce, in Fraser’s Magazine for December 1863 and January 1864. 3 Plate XIII. Artist : Tulsi. Damayanti sits in a palanquin with a dome-shaped top of Persian form. One of the men on the left wears a high conical Scind turban. Two parrots (the birds of love—the vehicle of the Hindu Cupid) and pairs of butterflies, symbols of affection, hover in the ban van or fig-tree. THE MAHABHARATA. I 2 Akritavrana, one of the holy men who came to comfort the just Yudhishthira, told him the history of Parasu-Rama (Rama with the axe), who is usually recognised as the sixth incarnation of Vishnu. STORY OF PARASU-RAMA. Jamadagni, the father of this famous incar¬ nation of Vishnu, was a renowned ascetic in whose days lived a great oppressor—a Kshatriya or Rajput Chief—Kartavirya, King of Anupa, who took away the saint’s calf and insulted his wife. Parasu-Rama, the reputed fifth son of Jamadagni, by his father’s orders, first killed his mother and then slew the tyrant, who is said to have had a thousand arms. 1 Kartavirya’s sons in revenge murdered Jamadagni, but Parasu-Rama not only killed them but the whole race no less than twenty- one times, that is to say, he destroyed their offspring born after their death and the deaths of their descendants. This legend, no doubt, embodies a temporary triumph of the Brahmans over the Rajputs, and is a great exaggeration by the former caste, for their own glorification, of an insignificant occurrence. The story of the Deluge is told at length in the Matsya Purana, but Markandeya is said to have briefly narrated it in the forest to the Pandavas, who asked him to tell them the history of Manu, son of Vivaswat. STORY OF THE DELUGE. Manu, the sage, was granted by Brahma the privilege of preserving all creatures at the the general annihilation which occurred at the end of a kalpa or age of the world. Once when he was offering water as an oblation to the manes of his ancestors a small fish fell into his hands and begged him to preserve it. The sage kept it in a vessel until the creature grew too large for it and then transferred it to a tank, and ultimately, when it had attained enormous dimensions, put it in the sea, where it was able to protect itself. The fish informed him that he was Brahma, 2 thus incarnate to save all sweat- born, oviparous, and viviparous creatures as well as vegetables. He directed Manu to collect re¬ presentatives of all these classes in a large ship, which was to be tied to his horn by a cord. In due time the deluge took place, and the fish presented himself. Manu tied the ship to the horn of the monster with a rope which was really a transformed snake. The vessel floated on the waters until they began to subside, when Manu was able to attach it to a tree which appeared on the summit of the great northern mountain. 3 Markandeya told the Pandus that he also floated on the waters in the deluge and at¬ tempted to reach the boat in the hope of saving himself. He caught hold of a tree and peep¬ ing through its foliage saw a boy with his toe in his mouth, asleep on a leaf on the water. The boy lifted the sage into the boat and Markandeya saw the whole world in his mouth, by which he knew that he was an incarnation of the Supreme Being. 1 Plate XIV. Artists : Basawan and Anis. Note, the water-pot, of porous clay, is kept on a -stool and covered with a fine cloth to keep the contents cool and free from con¬ tamination by animals or insects. 2 In another account the fish was Vishnu. Manu was to take with him the seven sages and seeds of all kinds. The fish incarnation of Vishnu is the first of the series. 3 Plate XV. Artists : Daswant and Kanha. The seven sages are seen in the boat, and Manu on the rock. There are said to be seven Manus, of whom Manu, son of Vivaswat, is the seventh. He is the progenitor of the present race of living beings. Each age of a Manu is the fourteenth of a day of Brahma, or 4,320,000 years. VAN A PARVA. 13 STORY OF RAJA INDRAYUMNA. Yudhishthira asked Markandeya whether there was anyone older than himself. The sage replied, ‘There is one, by name Indra- yumna, a kingly saint, who attained heaven by his great merit, but who, having been told that he could only remain there as long as his good deeds were remembered, came to earth, with two angels as witnesses, to see whether anyone recognised him. He met me, and inquired whether I knew him. I answered that I did not, whereupon he put me the same question that you have just done. I told him that there was an owl who was older, and who perhaps knew him ; thereupon he assumed the form of a horse and carried me on his back to the distant mountain where the bird resided. The owl was not able to tell who the saint was, but he conducted us to a lake called Indrayumnasara, in which lived a crane older than himself, who in turn summoned from its waters one still more venerable, a tortoise, who, after reflecting with tears in his eyes and with a beating heart, ex¬ claimed, “Why should I not know him ? This lake in which I live was formed by his offer- mgs. : Cars with celestial drivers then came from the skies, and, after the owl and I had been taken back to our homes, departed with Indra- yumna to Swarga, or Heaven. Yudhishthira remarked that Markandeya had acquired great merit by the restoration of Indrayumna to bliss. 1 THE RAMA YANA, OR STORY OF RAMA. Seventh Incarnation of Vishnu. Markandeya told the story of Rama to the Pandavas, to show that pain is the best source of pleasure, and also that they might take courage in hoping that Draupadi would be restored to them when Jayadratha took her away, as was Si'ta to Rama after her abduction by Ravana. Hanuman also narrated a very brief epitome of it to Bhima, his mythical half-brother. The Rdmdyana is the second and probably most ancient of the Hindu epics. It is the history of the life of Rama, the deified ancestor of the Rajputs of the solar race, the capital of whose family was the great and magnificent city of Ayodhyd, on the river Gogra, one of the streams which water the modern district of Oude, the garden of Northern India. Mr. Wheeler divides the story into four heads, namely— ist. The domestic life of the royal family at Ayodhyd. 2nd. The intrigues of the first and the third, or favourite, queen regarding the appointment of the heir apparent. 3rd. The exile of Rama, the heir, and 4th. The death of the old King or Mahardjd and the triumphant return of Rdma. In the Rdmdyana is also given an account of a great war which Rdma waged in his exile against Ravana (popularly Rdwan), the demon King of Lankd or Ceylon, who had abducted his wife Sita. This part of the story is sup¬ posed to relate to the struggles of the Brah- manical Hindus with the Buddhists, and to have no real connection with the more ancient narrative of the exile of the King of Ayodhyd. As, however, the illustrations in the Razm Ndmah are chiefly devoted to the exile and war with Ravana, a very brief sketch of the other divisions of the story will suffice. Dasaratha, the old King of Ayodhyd, had three wives, Kausalyd, the mother of Rama, Kaikeyi of Bharata, and Sumitra of Lakshmana and Satrughna. The four sons are looked upon as incarnations of V ishnu, created to destroy 1 Plate XVI. Artists : Lai and Lalu. The tank is filled with lotuses, and the garden with trees, amongst them the cypress, which is planted in every Mahomedan cemetery, and the plantain. The two angels and the owl listen to the tortoise, the symbol of age, who recognises the Raja. H THE MAHaBHARATA. a terrible demon—Ravana, the oppressor of the ancient Vedic gods, who themselves with their offspring, in the form of monkeys and bears, assist Rama in the great struggle. After his marriage with Si'ta, the daughter of Raja Janaka (in reality an incarnation of Lakshmi, wife of Vishnu), Rama was appointed Yuvaraja, or heir apparent, but the day before his formal installation Kaikeyi succeeded in obtaining two boons from the old King, one the promise of the succession to Bharata, the other the exile of Rama for fourteen years. Rama, like a dutiful Hindu son, in order that the word of his father might not be broken and to preserve his honour, consented to obey the cruel command, and prepared to depart. After informing his wife, who determined to accompany him, he took leave of the King and set out for the forest with her and his brother Lakshmana. The afflicted inhabitants of Ayodhya, who were devoted to Rama, accompanied the exiles, with every sign of grief, to the banks of the river Tamasa. Under cover of the darkness the princes and Sfta escaped from them, and were driven to the Ganges, over which they were ferried by Guha, the Bhfl Raja. Hence¬ forth they wandered alone. The Maharaja died soon afterwards, and Bharata, refusing to accept the sovereignty, went with an army in search of his brother, whom he found on the hill of Chitra-Kuta, but, as Rama considered him¬ self bound to carry out his father’s instructions, the young prince was compelled to return and rule in his room. The exiles wandered for some years amongst the hermitages of the sages who were per¬ secuted by the Rakshasas, or demons (supposed to be the Buddhists). Rama promised to protect them. He disfigured Surpa-nakha, the sister of Ravana, the demon king of Lanka ; slew her brothers, Dushana and Khara ; and defeated their armies. Ravana, on hearing these tidings, thought of himself joining issue with Rama, but was persuaded to abduct Sfta instead. Mancha, 1 Plate XVIII. Artists : Jagan and Madho. 2 Plate XIX. Artists : Madho and Jagan. 3 In another version Jatayus himself is described as his minister, who at first was against the pro¬ ject, afterwards consented to aid, and assum¬ ing the form of a beautiful deer attracted the notice of Sfta, who began to long for its skin, which Rama promised to procure for her. He slew Mancha, who at the moment of dying cried out in the voice of Rama, ‘ O Sfta, save me ! O Lakshmana, save me ! ’ Sfta, hear¬ ing these words, urged Lakshmana by her taunts to succour his brother, and was thus left alone. Ravana, in the disguise of a Brahman mendicant, visited the hermitage of Rama, and forcibly bore Sfta away to Lanka. 1 He was clothed in a thin red garment, had a tuft of matted hair on the crown of his head, an umbrella in his hand, shoes on his feet, and was armed with a trident; a bag was hanging by his side for provisions, and he carried a dish to receive alms. Jatayus, the chief of the vultures (son of Garuda, the vehicle of Vishnu), who had promised to defend Sfta, heard her cries and endeavoured to release her, but Ravana overcame him and continued his journey. 2 Sfta on the way threw down her veil and jewels to five monkeys seated on a mountain, in the hope that Rama might receive them. The brothers searched all day for Sfta, and next morning, after performing their devotions (shown also in Plate XVIII.), set out again to seek her. The brother of Jatayus 3 told them W'hat had occurred, and a demon whom they slew showed them how Ravana could be over¬ come if they allied themselves with Sugrfva, chief among the monkeys, who had been dethroned by his brother, Bali, and deprived of his wife. They were first to assist him in recovering his throne, and then to proceed together against the King of Lanka. The brothers soon met Sugrfva, and his chief counsellor, Hanuman, who showed them the ornaments of Sfta. An alliance was concluded, and, by the advice of Rama, Sugrfva challenged Bali to a single combat, which was accepted. Bali was at first successful, but on taunting Sugrfva being met by Rama, who restored him to his wonted strength and heard his story. VAN A PARVA. i 5 with the want of assistance which he boasted Vishnu would give him, Rama, the incarnation of that god, slew him with an arrow, being himself concealed. 1 He shot him from behind a tree, because it was foretold that Bali should receive half the strength of anyone who opposed himself to him, and this of course Rama was anxious to avoid. Sugriva had now recovered his throne, but o nothing further could be done, as the rainy season had commenced. In the autumn four armies of monkeys and bears were assembled and despatched to the four quarters of the earth, and that headed by Hanuman, which went south, was successful in bringing back tidings of Sfta. Hanuman is represented as jumping over the arm of the sea which separates Lanka (Ceylon) from the main¬ land, and as exploring the city, which was sur¬ rounded by seven walls and moats, in the form of a cat. It was defended by many demons, and its inhabitants are described, with few exceptions, as creatures of most horrible forms and appearance. 3 4 He entered the palace, which was sur¬ rounded by a deep canal, and finally reached the inner apartments of Ravana, but could not for some time find Si'ta. He at last discovered her sitting in deep distress, her hair tied up in a single knot, covered only with a cloth and without ornaments, calling out the name of Rdma. 2 Hanuman, who had now assumed the form of a very small monkey, witnessed an interview of Ravana with her, in which, as she refused to become the demon’s wife, he threatened her with being devoured at the 1 Plate XX. Artists : Khem Karan and Ikbal. 2 Plate XXI. Artists : Basawan and Babu. The foliage in the Asoca garden is of the luxurious tropical character observed in Ceylon, and the tiled roof of the pavilion also shows that the artist was familiar with the south of India. 3 Plate XXII. Artists : Basawan and Miski. The domestic utensils, cradles, and so on, are similar to those now in use. 4 On the way Hanuman plunged his tail into the sea, but the spirit of the waters appeared and begged for mercy, as he could not put out the tremendous fire. Hanuman, therefore, blew out the flame himself, and since that day the faces of the monkeys have been black. 5 There is a curious legend told in connection with the end of two months unless she then consented to his wishes. Hanumdn revealed himself when Ravana had left, but Si'ta refused to permit him to carry her away because she would allow no man but Rama to touch her, and would not have the world say that her husband was unable to punish the oppressor. Hanuman, having accomplished his mission, determined to do something to injure Ravana, and therefore not only destroyed a large mango grove, but slew an immense army and several great champions sent to seize him. He was at last captured by stratagem and taken before the King, 2 who was prevailed upon not to slay him as he was an envoy (spy ?), but to disgrace him, which he did by ordering his tail to be covered with old cloths and ghi, or clarified butter, and then to be set on fire. This was accomplished with some difficulty, as the monkey swelled his tail to such a monstrous size that all the cloths in Lanka would scarcely cover it. 2 He escaped by reducing his body to a very small compass, but immediately assuming a vast form set fire to the city by lashing about his tail. 3 He rejoined the army and returned as soon as possible to Rama with the news of Sitad Rama and his allies advanced towards Lanka, and were met by Vibhishana, brother of Ravana, with whom they concluded an alliance. A bridge from the mainland to the island was constructed by the monkey Nala, son of Viswa- karma, the architect of the gods. 5 Rama crossed it with his army of monkeys and bears, and the war began in earnest with an attack on the city. 6 This was resisted, and the victory inclined to the side of Ravana until Sugriva, passage of the sea. Rama was very angry with the ocean for not permitting his armies to cross, and discharged a fire- producing arrow into it, whereupon the God of the Deep appeared and begged for mercy, as he was under Ravana’s orders and could not disobey him. Rama said that his arrow could not return fruitless (another version of the proverb ‘ Every bullet has its billet ’), but at the prayer of the ocean god allowed it to spend its force on the giants Dhulia and Maricha, Ravana’s allies. The countries of Dhundar and Marwar (Jeypore and Jodhpore) are named after these demons, whose homes they were. The legend perhaps points to their recovery from the bed of the sea at a comparatively late period. 6 Plate XXIII. Artists : Ldl and Sarjan, THE MAHABHARATA. 16 tearing up a tree by the roots, turned the tide of victory. 1 Rama and his brother were taken prisoners by Ravana’s son, Meghnada or Indrajft, with a noose of serpents, from which, however, they were freed by the mighty bird Garuda. Rfivana himself took the field, but Rama brought him to shame by cutting off the crowns from bis ten heads with a crescent-pointed arrow. He retired and sent out his brother, who was slain, but Indraji't caused such de¬ struction amongst the monkeys that it became necessary to heal their wounds by supernatural means ; this Hanuman effected by bringing a part of the Himalaya mountains whereon grew medicinal herbs, which the wounded animals smelt and so were healed. Dhanwantari, the physician of the gods, told Rama where to procure the herbs, which could be distinguished by a lamp placed beneath them. Ravana had lamps placed under many other shrubs, so that Hanuman could not distinguish the proper ones, and therefore brought the whole hill-side. Ravana, after the defeat and death of Indra¬ ji't, once more left the city to head the battle in person, and wounded Lakshmana so severely that Hanuman was again compelled to resort to the Himalayas for the healing and vivifying herbs. On his way he passed over Ayodhyd, where Bharata shot him, not knowing who he was. He explained his mission to the prince, and narrated the events that were occurring at Lanka, and Bharata released him. 2 Kfila- nemi, uncle of Ravana, disguised as a devotee, also endeavoured to waylay him. The war concluded with the death of Ravana, who was killed by Rama with the arrow of death, ‘ Mrityu Bana,’ with which alone he could be slain. It was obtained by Hanuman from Mandodari, the queen of Ravana. Hanuman in the guise of an astro¬ loger learned that it was kept in an iron pillar and then secured it. 3 Sita was released, but her husband, feeling that she had incurred some contamination from her residence in another man’s house, looked coldly upon her. She therefore determined to end her sorrows by burning herself. Rama permitted the ordeal, but Agni, the god of fire, came forth from the flame and presented the devoted wife unharmed to her husband, thus proving to all the world that she was without stain. 4 The fourteen years of exile had now expired ; Rama there¬ fore returned in triumph to his home and as¬ cended the throne amidst the plaudits of the populace. 5 When the Pandavas had rescued Draupadi they determined to remove to another part of the forest. Shortly after their arrival in their new home they were met by a Brahman, a resident of the same wood, who told them that he was in great distress, as he had lost his churning staff and the two pieces of dry stick with which he produced fire. They were placed on the branch of a tree, but, unfortunately, a gazelle in bounding along had caught them in his horns and was now almost out of sight. 6 He begged the brothers to catch or kill the deer, and so restore him the missing articles, as he was bound by a vow to use no others. The Pandavas started in pursuit, but none of them could kill the animal, 7 who led them on until they were worn out with fatigue, and then disappeared. Almost dead from thirst, Yudhishthira begged Nakula to climb a tree to see whether any stream was near. The young prince saw signs that water was at hand, and, descending, went in search of it. He reached a pool, but just as he was about to drink he heard a voice which warned him to 1 Plate XXIV. Artists : Daswant and Mukhlis. 2 Plate XXV Artist: Jagjiwan. The Tartar character of the buildings and bridge on the mountain side is very remarkable. The seat on which the ascetic sits is used for bathing stools, for tables, and such like purposes. In the second journey only one kind of herb was required. 3 Plate XXVI. Artists : Mukand and Banwari. The most interesting features in all the illustrations of the war with Ravana are the great variety of the forms of the demons and the rudeness of the weapons they use. 4 Plate XXVII. Artists: Mukand and Banwari. The sun and moon are both shown in the plate to witness for ever the purity of Sita. They are represented on carved tablets or inscriptions for the same purpose. 5 Plate XXVIII. Artist : Mahesha. The Brahman in the foreground presents money in charity in honour of Rama. Sita is enthroned in the female apartments at the same time as her husband in the outer court. c Plate XXIX. Artist: Kanha. 7 Plate XXX. Artist : Kanha. The description of the plate should read, ‘The Pandu brothers attempt to kill the deer. VANA PARVA. 1 7 wait until he had obtained permission and had answered certain questions. Nakula, parched with thirst, drank without heeding and fell lifeless in the reeds. Sahadeva, Arjuna, and Bhima each went in succession to look for water, and met the same fate as their brother. When Yudhishthira arrived at the lake, more wise than the rest, he replied to all the questions of the guardian of the pool, who appeared before him as a huge and monstrous shade. The Yaksha, or spirit, was so pleased with Yudhishthira’s replies that he revealed himself as his true mythical parent, the god Dharma, and said that in the form of a deer he had taken away the Brahman’s treasures in the hope of seeing and trying his son. He restored the dead brothers to life, gave them the fire-producing wood with the churning staff, and promised that no one should discover them in the year of their concealment. FOURTH BOOK. VIRATA PARVA. I events that took place in the thirteenth year of the exile of the Pandavas are narrated in the fourth book. Following the advice of Vyasa, they took refuge at the court of Virdta, King of Matsyades, the modern Jeypore and Ulwar. They assumed new names and disguises : Yudhishthira became master of the ceremonies to the King, Bhima was disguised as a cook, Nakula as a groom, Sahadeva as a herdsman, and Arjuna, in consequence of a curse of the celestial nymph Urvasi, as a teacher of the women or a eunuch, and Draupadi as a serving woman. At a great festival given at Matsya, the capital, Bhima distinguished himself by killing Jimuta, a foreign wrestler who had beaten all the King’s champions. 1 Kichaka, the royal commander-in-chief, persecuted Draupadi by his attentions, and she, acting under Bhima’s instructions, arranged a meeting with him in Arjuna’s music and dancing room. Bhima, dressed as a woman, kept the appointment and killed the general by beating him into a shapeless mass with his fists. 2 Next day Draupadi gave out that her celestial admirer or Gandharva had killed Kichaka ; but his hundred brothers, when they burnt him on the funeral pile, attempted to burn her also, as they said she was the cause of his death. Bhima was, there¬ fore, compelled to release her by slaying them all with his favourite weapon, the trunk of a huge tree. 3 The death of Kichaka encouraged the enemies of the King to make incursions against the country. Susarman, King of Trigarta, plundered the border districts, but in return Virdta and all the Pandavas, except Arjuna, ravaged his territory. The King, Virata, was, however, taken brought to the burial ground. It is covered with a costly cloth, which will become the property of the low-caste attend¬ ants. This custom is a cause of spreading infectious diseases. Pots of oil are at hand with which to feed the fire ; the vessel of hot embers, the wood and the bamboo stick with which to break the skull of the deceased are ready ; there are also bundles of the sacred kusa grass. The corpse is placed beside a stream in accordance with the law, and lastly Draupadi has been taken to be burnt as a sati by force, when Bhima, in disguise, rudely interferes and kills Kichaka’s brothers and releases the wife of the Pandavas. 1 Plate XXXI. Artist : Keshd. 2 Plate XXXII. Artists: Daswant and Mukund. The architectural features of the hall in this plate are the same as those of the palaces at Amber, near Jeypore, built from two to three centuries ago. The repeating pattern of the balustrade, probably in black on white marble, is a very com¬ mon form of ornament, also the geometrical design of the dado, which is done in fresco. The projecting eave and the taks, or niches, are characteristic of the Persian style, while the bracket capital is Hindu. 3 Plate XXXIII. Artists : Daswant and Mukund. The body still rests on the bier of bamboos on which it was IS THE MAHABHARATA. prisoner; he was released by Bhima without displaying his full strength, as Yudhishthira feared discovery if he did so. 1 Arjuna, while this was going on, had to assist Virata’s son against his own cousins the Kurus, and, as the thirteenth year of exile had expired, he was at liberty to use his weapons, which he did so effectually that they and their armies were thoroughly defeated. 2 FIFTH BOOK. UDYOGA PARVA. alliance was then formed between Virata and the Pandus, and the fifth book or Udyoga Parva opens with an account of an assembly of princes at Matsya, the capital of Virat, at which Krishna, the Hindu Apollo, and his brother Balarama were also present. It was proposed that the Pandavas should endeavour to obtain half the kingdom by negotiation, otherwise they would have to go to war. Krishna and his brother returned to Dwaraka, and the Pandavas sent an ambassador to Hastinapur to try to effect a reconciliation. Both sides, however, prepared for battle, and Duryodhana and Arjuna proceeded to Dwaraka, each with the hope of securing the aid of Krishna. Krishna gave Arjuna the first choice of two things—that is, to take either himself, unarmed, and on the understanding that he would not fight, or his army of warriors. Arjuna chose Krishna, and explained that he had acted thus singularly because he trusted that his friend would be his charioteer in the war. Salya, King of Madra, was persuaded by an artifice to promise to take the side of the Kurus; but he also told Arjuna that he would indirectly assist him in his conflict with Kama, and narrated the story of the struggles of the god Indra with the son of Twastri, and with the demon Vritra for the consolation of Yudhishthira. 3 THE STORY OF INDRA AND VRITRA. Tt appears that Indra slew the son of Twastri, and in revenge the latter created a great wolf demon, who at one time took the King of Swarga, or Heaven, between his jaws, from which he escaped by decreasing his size, only, however, to remain in terror of losing his dominion, until he succeeded by the help of Vishnu in destroying his foe. Indra was always in danger of losing his throne in this manner, and there are several ac¬ counts of his struggles with would-be supplant- ers, who were sometimes for a while successful. 1 Plate XXXIV. Artists : Basawan and Bhaura. The chariot is inlaid with ivory. Even the carts of countrymen are often adorned with carving and inlay of brass wire, and descend from father to son. Bhima wears round his pagri, or turban, a cord of silk beads, a badge of honour such as is worn by Rajputs of rank in Meywar and Marwar. 2 Plate XXXV. Artists : Madho II. and Lai. The whip, horse trappings, mode of supporting the axle of the cart, and the yokes, are such as are still employed. Hanuman, the deified monkey, sits on the top of Arjuna’s banner, as the prince has now dropped his disguise. In the Mahabharata the chiefs are distinguished by, and are often named after, their banners. Sanjaya describes the differences between the banners of the great warriors before the war begins to the old blind King Dhritarashtra. 3 Plate XXXVI. Artist : Mukund. The leading idea of Hindu belief is that everything may be accomplished by penance. In this plate the ascetic, who lives in a cave in the forest, creates from his sacrificial fire a powerful wolf demon, who takes the King of Heaven in his jaws. The demon wears a peculiar earring, such as is used by the Naths, or split-ear ascetics, whose head-quarters are in Marwar. UDYOGA PARVA. 19 The envoy of the Pandavas found the younger Kauravas disinclined to treat; but the old King adopting the cautious policy of their uncle Bhishma, decided to send Sanjaya, his own charioteer, with kind messages to Virata. A council of war was held, at which Yudhishthira said he would be guided by Krishna, who, after his return from Dwaraka, made a speech to the effect that he feared the evil dispositions of the Kauravas rendered war absolutely necessary; and at last a reply was given in which the old terms were insisted upon. Another assembly was held at Hastinapur, in which Bhishma urged moderation and the charioteer described the forces of the Pandavas. The Pandavas held a final consultation, and decided that Krishna should himself endeavour, by a personal visit to Hastindpur, to secure peace. 1 A long description is given of this embassy, especially of the great congress in which the gods themselves were said to have been present. Parasu Rama and the sages Kanwa and Narada told various stories bearing on the subject, and all except Duryodhana seemed inclined to peace, but the influence of the latter prevailed even though his mother, Gindhari, herself came to the congress and urged him to reconsider his decision. Krishna is said to have overawed the assembly by mani¬ festing his divinity in his most awful form, and the council broke up in the midst of fearful portents. Krishna afterwards visited Kuntf, who told him the stories of Muchu-Kunda and Vidula. Before going to the great council he had gone to the house of Duryodhana, 2 but was not received with the respect due to him either as a powerful sovereign or as an envoy. Soon afterwards war was declared by Duryodhana, and Bhishma consented to accept the generalship of the Kaurava armies, provided he was not called upon to fight with the sons of Kunti or with Sikhandin, son-in-law of King Draupada. To explain his reasons for not fighting with Sikhandin he narrated to Duryodhana the story of Amba. STORY OF AMBA. Bhishma carried off the three daughters of the King of Kasi (Benares) at their Swa- yamvar, with a view of marrying them to his brother, the father of Dhritarashtra and Pandu. Amba, the eldest, however, said she was already betrothed to the King of Salwa, and begged Bhishma to let her go. He did so, but the Rajd refused to receive her, and she was compelled to take refuge in the forest with the sages. Parasu Rama promised her revenge on Bhishma, and fought a battle in her cause with that hero. He was, however, un¬ successful. 3 Amba thereupon propitiated the god Maha- deo or Shiva by severe penance, and was pro¬ mised by him that she should, in a new birth, become first a female and then a male, born again to kill Bhishma. She afterwards burnt herself on a funeral pyre! 4 In due time she was born in the family of the Raja of Kampila, who, however, not wishing for a daughter, persuaded his wife to bring her up as a boy, whom he called Sik¬ handin. When old enough she was married to the daughter of Raja Draupada, but as soon as her 1 Plate XXXVII. Artist: Jagan. 2 Plate XXXVIII. Artist: Jagan. 3 Plate XL. Artists : Parasa and Basawan. One of the ascetics carries a sun-shade similar to that used by the Maharanas or chiefs of Oodeypore, which is, however, a golden sun surrounded with a rim of black felt. 4 Plate XLI. Artists : Lai and Madho. Shiva is here depicted as the ascetic of the Himalayas. Round his neck is coiled the cobra (Naja tripudians), or hooded snake. He carries the trident, symbolical of his lordship of the three worlds, and the drum, his peculiar emblem. His third vertical eye, the eye of spiritual perception, is observed on his forehead, and the crescent moon is placed near his brow. As Lord of the Moon he was worshipped at Somnath, in Gujerat, the famous shrine destroyed by Mahmud of Ghuzni nine centuries ago. D 2 20 THE MAHABHARATA. sex was discovered a quarrel arose between her father-in-law and the King of Kampila, which was happily concluded by Shiva fulfilling his promise and changing her into a man. Bhi'shma is represented in Plate XXXIX. enthroned as the great hero of the Kauravas, who are shown praising him while the musicians also sound their instruments in his honour. 1 SIXTH BOOK. BHI'SHMA PARVA. HE sixth book gives an account of the opening of the war, which took place on the plain of Dharmakshetra or Kurakshetra, north-west of Delhi (Paniput, where so many decisive Indian battles have been fought), and of the first ten days’ struggle, during which Bhi'shma held chief command on the side of the Kauravas. Vyasa endowed Sanjaya, the charioteer of Dhritarashtra, with the power of knowing everything that went on in all parts of the field, that he might be able to describe the whole of the struggle to his master. The wonderful charioteer began by giving the King an account of the earth, and particularly of India, which is very interesting, as he mentions the ancient divisions of the country. While the armies are drawn up on the field Krishna is also described as treating Arjuna, whose chariot he was driving, to a long philosophical discourse, which is known as the Bhagavad-gita. Before the battle began Yudhishthira thought it right to ask permission of Bhi'shma, Drona, and Salya to fight with them and the Kauravas. Krishna accompanied the Pandavas ; Bhfshma, Drona, and Salya blessed them and sanctioned the struggle, which they said had been preordained and would end in their success. 2 As soon as the senior members of the family had granted permission the great war drum was sounded. Bhima advanced towards Bhi'shma and attacked him, but was nearly taken by Duryodhana. and his brothers, who came to the help of their aged relative. The Pandavas sent forward Abhimanyu, Nakula, Sahadeva, Dhrishtadyumna, and the five sons of Draupadi, and thus the engagement became general. 3 Vast armies accompanied the heroes on both sides, but the history of the war, nothwithstanding, is principally the story of numerous single combats ; thus Bhfshma opposed Arjuna, and would have overcome him had not Krishna taken the wheel of his car and turned it rapidly round as his quoit or chakra, his favourite weapon. Krishna had promised not to use arms, but when Bhi'shma saw the hero took up the wheel instead he knew that he was asserting his divinity on behalf of the Pdndavas, and this filled him with so much joy that Arjuna had an opportunity of wounding him with an arrow. 4 On the second day of the war the Pandavas arranged their armies in the form of a cloud and 1 Plate XXXIX. Artists : Paras and Basawan. 2 Plate XLII. Artist : Khem Karan. Most of the Kauravas are represented as contemptuously twirling their moustaches, a special mark of defiance. An accidental act of this kind led to a fierce war between the Chohans of Ajmere and the Chalukyas of Chandravati, near Mount Aboo, a war which wasted the Hindu powers while they were threatened with a common danger, the first advent of the Mahomedan power in India. The story is told in the poems of Chand Bardai, translated in the Indian Anti¬ quary by Mr. Beames. It may be noticed that the banner poles are draped ; this is usually done in India. In the East biting the fingers is a mark of surprise, rage, or annoyance. See the Gulistan, chap. i. story ii. (Platt’s translation). 3 Plate XLIII. Artists: Daswant and Tulsi. Attached to the back of some of the chariots is suspended a small leather water bottle or ‘ chagal,’ used by travellers. Perhaps the best, which have small silver mouth pipes and wooden stoppers, are made at Kuchawan, near the Sambhar lake, the seat of a great noble of Marwar. At the top of the picture is a carriage for carrying a gun. Although here the introduction is an anachronism there are not wanting indications that firearms of some kinds were known to the early Indians. The fire-producing weapons of Aswatthaman and of Agni mentioned later on are examples. 4 Plate XLIII. bis. Artist: Tara. BHISHMA PARVA. 2 I fought with great success. Bhfshma’s son created a number of magic elephants, which attacked and overcame Bhagadatta, King of Pragjyotisha, and would have killed him had not Drona come to the rescue. 1 The Bhishma Parva ends on the tenth day of the war with the defeat of Bhi'shma. Arjuna broke the bow of the warrior after a fearful struggle, and then Sikhandin unfairly shot him in the breast. Arjuna followed up this stroke by piercing his body in all directions with arrows, so that there was no part which could touch the ground when the hero fell from his chariot. Bhishma. however, did not die at once, as he had been granted the power of fixing the moment of his death, and therefore decided to live until the sun entered the summer solstice. He complained of thirst and of the want of a pillow for his head. Arjuna was able to meet both demands. He produced a spring of water by shooting an arrow into the ground, and formed a pillow for his head with three sharp arrows, much to the delight of the hardy old man. 2 The river Banganga, which rises in Jeypore and flows into the Jumna, is said to have been produced by an arrow sped by Arjuna. SEVENTH BOOK. DRONA PARVA. HE Kauravas next appointed Drona, their old tutor, to the command of their armies, and the seventh book, or Drona Parva, is devoted to the continuation of the struggle under him. Many single combats are described in this book, some of which are illustrated in the Razm Namah. On the second day Bhagadutta, son of Narak, King of Pragjyotisha, the modern Gauhatti, who was so nearly killed on the second day of the war, is represented as fitting a celestial arrow—a con¬ secrated and infallible ankusa, or goad, sacred to Vishnu, capable of reducing any object to ashes _to his bow-string, which would have slaughtered Arjuna and destroyed the world. Fortunately Krishna interposed by catching it on his breast, where it has, it is said, since reposed in the form of the Vaijayanti rosary, which, according to the Hindus, is composed of sapphires, pearls, rubies, cat’s-eyes, and diamonds. Bhagadutta was killed and a wonderful golden bell made by Viswakarma cut off his elephant. 3 Arjuna was beguiled on the third day into fighting in a distant portion of the field ; his enemies, therefore, determined to wound him by slaying his son Abhi- rnanyu. They drew up their forces in the form of a maze (chakravyuha); Duryodhana was placed in the centre, and his son with ten thousand horsemen and many great heroes supported him. Drona, the captain of the Kauravas, defended the entrance, whilst Jayadratha, Aswatthaman, and others acted as skirmishers. Yudhishthira ordered Abhimanyu to attempt to enter the maze, and promised to support him ; but Jayadratha, in revenge for his defeat by the Pandavas when he attempted to abduct Draupadi, separated the youth from the rest of the Pdndavas by stratagem and killed him. The boy hero is, however, represented as having slain an immense number of the enemy. 4 During the combat, overcome with thirst, Arjuna begged Krishna to drive him from the field, that he might procure water ; but, being reminded that all the wells and streams were defiled by- blood, he said that he would create a spring, which he proceeded to do by shooting one of his wonder- 1 Plate XLIV. Artist: Tara. 2 Plate XLV. Artist : Mahesha. 3 Plate XLVI. Artists : Lai and Sarwan. 4 Plates XLVII. and XLVIII. Artists : Daswant and rulsi. These illustrations in the original are marvellously Irawn and coloured. In the interior of the maze were stationed kings who had golden flags, wore red clothes and ornaments (amongst Rajpdts putting on red or saffron robes implies determination to conquer or die—to take no quarter), golden necklaces anointed with sandal and aloe-wood paste, and wreaths of flowers. 22 THE MAHABHARATA. working arrows into the ground (it must be remembered that Arjuna is represented as being in reality the son of Indra, god of the sky and the rain cloud). He then let fly innumerable arrows in different directions, so as to form a palisade, within which Krishna watered the horses,' while his friend guarded the entrance. Krishna remarked that no one else could have performed such a miracle. 1 When Arjuna heard the news of his son’s death he was overwhelmed with sorrow, and vowed that, unless he killed Jayadratha, king of Sindhu, before the setting of the next evening sun, he would burn himself with fire. By the advice of Krishna he obtained a wonderful weapon from the deity Mahadeo, with which alone his enemy could be slain, and on the whole of the fourth day performed prodigies of valour in the field, especially against those who endeavoured to keep Jayadratha out of his reach. Towards sunset Krishna reminded him that Brihat-Kshatra, the father of his foe, had obtained this son by severe austerities, and had foretold that whoever cut down his head upon the earth while he was fighting should have his own skull broken into a hundred fragments. He therefore advised Arjuna to cut off Jayadratha’s head and to throw it into the lap of his father, who was sitting near the Sarasvati river in profound meditation. 2 This was done, but the ascetic did not recognise the head, and when he afterwards rose it fell on the ground, and his own also burst into a hundred pieces, much to the astonishment of all beholders. On the fourth day of Drona’s command Ghatotkacha, 3 son of Bhfma, was killed. The father and son went to fight with Kama and Alambusha, the son of Jatasur, who was especially matched with the latter because he was a demon, and therefore able to meet all the wiles of his foe, whose mother, Hidimba, was also of the same race. Both these unearthly characters assumed many different forms and were assisted by demons. 4 Kama and Alambusha found Ghatotkacha invincible until the former was reminded that he possessed a spear which Indra had given him in exchange for his magic suit of armour, the gift at his birth of his mythical father, the sun. With this weapon he was able to kill his foe. 5 On the fifth night of this part of the war Drona fought with his great enemy Raja Draupada and slew him, 6 but the defeat of the King was speedily avenged by Dbrishtadyumna, his son, who, however, won a victory only by stratagem, as the old warrior became disheartened by hearing, as he thought, the news of the death of his own son. 7 The Pandavas had, however, given an elephant the same name, and when Drona heard from the lips of Yudhishthira, who was never known to tell a lie, that Aswatthaman was dead, he gave up his arms and descended from his chariot. Yudhishthira was going on to explain that he meant the elephant was dead, but his brothers drowned his voice by beating of drums. 8 Dhrishtadyumna decapitated his lifeless body, for Drona had saved him from the crime of killing a Brahman by transporting his soul to heaven through an opening in the top of his skull. 9 The punishment for murder of a Brahman would have been to spend 60,000 years in hell as a 1 Plate XLIX. Artists : Shankar and Mukund. Krishna and the horses can be seen inside the palisade, but it is difficult to say whether two ascetics seated above are within or without the fence. 2 Plate L. Artists : Basawan and Mukund. Krishna, besides the conch shell, carries a lotus, sacred to Vishnd, of whom he is an incarnation. Hanuman, instead of a tree, holds a rock and the fan palms, symbolical of his strength. The ascetic sits on the skin of a black buck beside the Sarasvati river, and his son’s head is wafted to him on the crescentic-pointed arrow. 3 Having a hairy head shaped like a watering-pot. 4 Plate LI. Artists : Lai and Banwari. For grotesque conception nothing in the book can surpass this plate. The weapons are all such as would be used by aborigines. Clouds are introduced into the centre of the picture. Plate LII. Artists : Lai and Banwari. The sides of the chariot are of open work. 5 Plate LIII. Artists : Jugjiwan and Basawan. 6 Plate LIV. Artists : Daswant and Sarvan. The hel¬ mets of the warriors generally bear a small banner, and have no nasal (except one near the top of the picture). In Plate XLII. some of the helmets have chain coifs. 7 Plate LV. Artists : Lai and Madho II. 8 After this event the King’s chariot sank to the ground, above which it had always been miraculously kept a hand’s breadth. So much did the ancients honour truth. 9 Plate LVI. Artist: Mukund. Hindus believe that the soul escapes by the fontanelle. DRONA PARVA. worm crawling in mire. His translation to Brahmaloka, the heaven ol Brahma, was only witnessed by five persons—Krishna, Sanjaya, Yudhisnthira, Arjuna, and Aswatthaman. To this day Hindus speak of the death of a prince as his setting out for the home of the gods —Deolok kopadhdra. The son of Drona revived the drooping courage of the Kauravas, who were much dispirited by the death of their champion. He shot off the Narayana, a wondrous burning arrow, which struck Bhima on the head, and would have killed him had not it been appeased by Krishna. He also discharged another arrow sacred to fire, which was burning up the Pandava armies until Arjuna quenched it with the Brahmastra weapon. 1 EIGHTH BOOK. KARNA PARVA. ARNA was appointed to the command after the death of Drona. The eighth book opens with an account of his combat with Yudhishthira, who was wounded and fled ; but Kama taunted him and tore him from his horse, and only released him because he had sworn to Kunti, his mother, to kill only one Pandava prince, and that he determined should be Arjuna. Duryodhana also sent an army of Mlechchhas, or barbarians, to kill Bhima, but he succeeded in destroying them all, as well as the elephants on which they rode. 2 One of these beasts he threw up into the air, where it remained magically suspended until the time of King Janamejaya, to whom the Mahabharata was told. The pious monarch expressed astonishment at hearing this part of the wonderful story, but was convinced of its truth when the narrator brought down the elephant’s body into his own courtyard. Susarman, the King of Trigarta, had sworn not to give up fighting until either he or Arjuna had fallen, and therefore took every opportunity of meeting him in battle. On the seventeenth day of the war Arjuna fought with him. He discharged an arrow which produced serpents and much discomforted the King’s forces, until he was able with another magical arrow to produce the Garuda bird, which devoured the snakes. 3 Bhima on this day met and killed Duhsasana, the brother of Duryodhana, who in the famous o-amblino- scene had insulted Draupadi. In fulfilment of his vow on that occasion, after he had cut off the head of his foe, he placed his foot upon his breast and drank his blood. 4 Then followed perhaps the grandest conflict of the whole war, in which the two heroes Arjuna and Kama were pitted against each other. Arjuna was being worsted when, owing to intentional clumsy driving of Kama’s charioteer, King Salya, the single wheel of his vehicle stuck in the mud, and he was compelled to descend, thus giving his enemy the somewhat unfair opportunity of striking off his head with one of his marvellous crescentic-pointed arrows. The noble Kama’s soul ascended to his father, the sun. 5 The o-ods Brahma, Shiva, and Indra, accompanied by the Gandharvas, or celestial musicians, O appeared in the sky to celebrate the triumph of Arjuna, while warriors and demons on both sides beheld the magnificent spectacle. 6 1 Plate LVII. Artists : Mahomed Sharif and Munir. Here we have the magical fire-producing arrow, whose effects can only be reduced or modified by propitiation. 2 Plate LVIII. Artists : Keshodas and Chitra. 3 Plate LIX. Artists: Basawan and Kanha. 4 Plate LX. Artist: Jagan. 5 Plate LXI. Artists : Makhlis and Madho. The com¬ bat of Arjuna and Kama is perhaps the grandest in the war. 6 Plate LXII. Artists : Daswant and Paras. The gods are seen in the air rejoicing, a compliment they pay to great heroes, while the sun and moon are also present to witness for ever the grandeur of the battle. On the left is Brahma, distinguished by the water pot, rosary, staff, and copy of the sacred Vedas, which he holds in his four hands. Next to him comes Shiva with the matted hair, wearer of the crescent moon, the^ star, and the serpent, seated on a skin. The last is Indra on the lotus flower, distinguished by his thousand eyes. The Gandharvas, or celestial musicians, play music in the clouds. O' THE MAHABHARATA. NINTH BOOK. SALYA parva. HE ninth book, or Salya Parva, is devoted to the one-day command of Sdlya, King , of Madra. Yudhishthira killed Salya, who, when dying, fell in the act of worship before him, thus recognising the justness of the Pdndava cause, which he had been hither¬ to compelled by force of circumstances to oppose. 1 One by one the Kuru chiefs were slain until only Duryodhana, Aswatthaman, Kritavarman, and Kripa were left alive. Duryodhana fled and took refuge at the bottom of a tank, where he protected himself by forming a strong chamber by his magical power. The Pandavas heard where he was concealed, and by taunts goaded him into coming forth to fight with Bhima. Balarama, who had taken no part in the war, hearing that his pupils were about to fight, determined to be present to ensure fair play. 2 The struggle was long and uncertain until Bhima, remembering his vow when Draupadl was lost at dice, contrary to the rule of mace-play fights, which forbad to strike below the waist, broke Duryodhana’s thighs, and, after kicking him on the head with his foot, left him on the ground. 2 Balarama in great anger sought to stop Bhima, but Krishna pacified him by saying that the blow was fated. The gods appear in the sky with the great sages and the sun and moon, eternal witnesses of the victory, and the head of Rdja Bar- barlk gazes down from the banyan tree. Balarama was not easily satisfied ; he would have slain Bhima, but was compelled to remain content with naming him unfair fighter, or Jimha-yodhin. 3 To Europeans this would seem a mild form of punishment; but the Hindu works for fame, and dreads the contempt that w'ould be associated with such a memory as that just mentioned when the bard narrated the story in the halls of his descendants. The Pandavas now took possession of the camp of their enemies and of their treasure, while Krishna went to Hastinapur to soothe the old King and his wife. The book concludes with a meeting between the wounded Duryodhana and his three surviving friends on the battle field. 1 Plate LXIII. Artists : Daswant and Bhagwan. This is almost the first occasion on which Yudhishthira, ‘the firm in battle,’ distinguished himself. 2 Plates LXIV. and LXV. Artists: Basawan and Gulam Nabi. These represent another great single combat. The buildings are decidedly Moghul. The heavenly per¬ sonages sit on thrones of flowers. The sages are depicted in Plate LXIV. and in Plate LXV. ; beginning from the left are Vishnu, Shiva or Mahadeo, Brahma, and Indra. Krishna, in the latter plate, is observed stroking his thigh, to indicate to Bhima the way to kill his enemy, while Balarama, his brother, also an incarnation of Vishnu, endeavours to stop the combat by striking Bhima with the plough, his usual weapon. The tank is filled with lotuses, and all its inhabitants are carefully painted. 3 Plate LXVI. Artists : Lai and Khem Karan. c SAUPTIKA PAP FA. 25 TENTH BOOK. SAUPTIKA PARVA. HE tenth book, or Sauptika Parva, opens with an account of a conference between the three Kuru chiefs, in which, at the suggestion of Aswatthaman, it was decided to make a night attack upon the Pandava camp. Aswatthaman found his entrance opposed by an enormous snake, which he attempted in vain to destroy. He then became aware that the great god Shiva, who wore the serpent round his neck, was defending the camp, and to appease him was about to sacrifice himself on the fire of an altar, when the deity was satisfied and permitted him to proceed, and promised him his help, as he had decided no longer to aid the family of Draupada. Krishna, in his divine form, beheld from the sky what was going on. 1 Kripa and Kritavarman were directed to guard the gate, and Aswatthaman made for the tent of Dhrishtadyumna, his father’s foe, whom he killed by stamping upon him, as he did not consider him worthy to die in any other way. 2 He then slew many other warriors, and especially the sons of the Pandavas, who believed they were being attacked by a demon. At last he killed Sikhandfn, the conqueror of Bhfshma, out of whose body rose a fearful female form called Kalratri—an incarnation of Durga, who drank the blood of the slain, both men and beasts, and made necklaces of their heads and bodies. 3 The surviving heroes beheld in their dreams Kali, who was identical with Kalrdtri, with red face, red eyes, red wreaths, in red clothes with a noose in which she took men and animals, with corpses of all creatures, and bound them round her neck. Kripa and Kritavarman killed all their companions spared, and demons devoured the dead and dying. 4 The midnight murderers now proceeded to the side of Duryodhana, who, delighted at the news, thanked them and expired. 4 ELEVENTH BOOK. STRI PARVA. HE eleventh book is principally devoted to the performance of the funeral ceremonies of the dead on the battle field, the wailing of the women, and the attempt of Dhritardshtra, the old blind king, to kill Bhima. 1 Plate LXVII. Artists: Daswant and Mahesha. Krishna appears in the sky because in his divine form he is understood to have been aware of the meditated attack upon the camp. The presence of the moon indicates that it is night. Shiva, as the ascetic who has sat for ages absorbed in meditation, so long, indeed, that flowers and grasses have grown in his matted hair, sits on a tiger skin, and his arms are marked with streaks of clay or white ashes. The camp equipage is exactly like that an Indian chief would still use. All within are careless, asleep or idly talk- ins in the midst of the cattle. On the right is a clay fire¬ place with sticks beside and within it; the cook sits and sleeps close to the water skin, while opposite a woman attends to the watering-pots, which are kept in a frame ; several men light the camp with cressets, such as are yet used at Jeypore. 2 Plate LXVIII. Artists : Daswant and Miskina. 3 Plate LXIX. Artists : Daswant and Sarwan. Two of the heads may be European. It would not have seemed unnatural to the artists of Akbar’s day to represent the foreigner in so humiliating a position. 4 Plate LXX. Artists : Daswant and Sarwan. v J 26 THE MAHABHARATA. TWELFTH BOOK. SANTI PARVA. Book of Consolation. HE twelfth book is the longest in the poem, but most of it is taken up with long discourses on the duties of kings, on the rules of conduct in adversity and those for obtaining final salvation, most of them narrated by Bhishma on his arrowy couch to strengthen Yudhishthira for his duties. Yudhishthira said that the great victory was due to Krishna, but the younger Pandus were very angry at this ; Krishna therefore went with them to the field of battle to ask the head of Babarik whose was the merit of the victory. Before the war Babarik (Babhravahan), who was only fourteen years old, but a Raja of great wisdom, came to meet Krishna and foretold his death. The young King brought three arrows with him, and when Krishna asked what particular properties these possessed he said that one could foretell death, the other could slay a host, and the third was a spare one to be used in emergencies. Krishna thought that such a powerful prince should be first overcome, especially as he added that he should side with the defeated party in the great war. Finding that Babhravahan boasted of his liberality, he demanded that he should present him with his own head. 1 The Raja agreed on the understanding that it should be permitted to live as long as the war lasted. 2 Krishna consented, and placed his head in the banyan tree, a leaf of which he putin his mouth, telling him to keep it there as long as he wished to watch the struggle. When the head was asked to whom the glory of the victory was due, it replied that it saw only three things worth mentioning—(1) Krishna’s quoit, (2) Bhagadutta’s struggle with the magic elephants, (3) Draupadi as Kalratri drinking the blood of the slain. The Pdndavas were much humbled, and the head dropped the leaf and died. 3 Yudhishthira was at first anxious to retire in disgust from the world, but was at last prevailed upon to assume the sovereignty and was seated on a golden throne with Draupadi beside him. Bhima was also inaugurated as heir apparent or Yuvaraja. 4 The streets were decorated, and all the Brahmans offered congratulations except one who reviled him. He, however, turned out to be a demon named Charvak, a friend of Duryodhana, in the disguise of a member of the sacred caste, and when detected the true Brahmans killed him on the spot. By Krishna’s advice the following honours were conferred :— Bhima Arjuna Vidura Sanjaya N akula Dhaumya Sahadeva Y uyatsu 1 In Hindu stories the present of a head by its owner is not very uncommon, and not, after all, a very great sacrifice amongst believers in transmigration of souls. The Baital Pachisi, or ‘ Twenty-five Tales of a Demon,’ has several such references, and there is an instance in the history of the small State of Karauli, in Rajputana, in which the Raja offered his head to the goddess Durga for the good of his country. Yuvardja and Prime Minister. Commander-in-Chief. Counsellor. Treasurer. Commander of Troops. Superintendent of Charity. Superintendent of the Palace. Attendant on Dhritarashtra. 2 In the travels of Nicolo h. Conti, a learned Venetian, in the Aliddle Ages, a steel ring is described with which the feat of cutting off a man’s own head might be accom¬ plished. 3 Plate LXXI. Artists : Tara and Daswant. 4 Plate LXXII. Artist: Ramdas. Plate LXXIII. Artists : Daswant and Madho. SANT/ PARVA. 2 7 After the installation the Pandavas went with Krishna and others to the battle field to see Bhishma, and on the way Krishna told them in full the history of Parasu Rama. The long discourse of the venerable warrior takes up the remainder of the book. It is divided into three parts. 1. The Rajd-dharma nusdsana-parva, or chapter on the duties of kings. 2. The Apad-dharma-parva, or rules of conduct in adversity. 3. The Moksha-dharma-parva, or rules for attaining salvation. Several of the episodes are illustrated in the Razm Namah. Bhishma, in reply to the question, ‘ When was the sovereignty of men produced ? ’ narrated the story of Raja Prithi. STORY OF RAJA PRITHI. Venu was a most powerful ruler who was puffed up with pride. The sages destroyed him by their curses because he despised them, but soon regretted having done so, as they noticed that the system of government of the earth could not be well maintained without a king. They therefore assembled round his corpse and rubbed his limbs and muttered charms until they produced from his left leg the ancestor of the Nishadas or Bhils, the Mhlechchhas, and other low castes, and from his right arm King Prithi, the first anointed sovereign of men, who divided the whole earth into seas and land, ruled over the lower animals, and introduced the arts of husbandry and the rules of caste. 1 (See also Bhagwat Purana.) He is fabled to have shot arrows into the earth, which until that time had refused to allow corn to grow. It appeared personified under the form of a cow, which he milked and thus suc¬ ceeded in making the soil bring forth abundantly. STORIES OF THE BRAHMANS. Bhishma told the King the following story to prove that human exertions are all futile unless aided by Destiny and the Almighty :— There was a very avaricious Brahman named Manki, who possessed two bullocks, which were tied together when grazing by a cord. A camel accidentally got his neck under the cord and in alarm ran away. The bullocks died from the injuries they received and the Brah¬ man was much distressed at their loss. 2 Bhishma told Yudhishthira the story of the Brahman Kashyapa. Kashyapa was a Brahman who was sore pressed by want of even the necessaries of life. One day, while reposing in the roadway and absorbed in thinking upon his sad position, he was injured by a wheel of the cart of a baniya, or merchant, who, instead of showing sympathy with the unfortunate man, treated him with contempt and abused him. The Brahman felt that it was useless to struggle any further against his hard lot, and was about to commit suicide, when Indra, the King of Heaven, appeared in the form of a jackal and pointed out the sinfulness and folly of such a course. 3 The sacrifice of Daksha, the Prajapdti (lord of created beings), a great event in Hindu mytho¬ logy, is narrated in the Santi Parva. 1 Plate LXXIV. Artists : Daswant and Miskina. 2 Plate LXXV. Artists : Lai and Chatarbhuj. 3 Plate LXXVI. Artists : Basawan and Madho. The The baniya, or merchant, carries in his hand a small water¬ skin (chagal); he has hired a guard, who has tied his bow and arrows to the cart while he carries only a club, as the party is about to cross a ford. The sides of the cart are filled up with cloth lashed on the poles, so that grain and small articles may not fall out. The framework at the top of the cart can be covered with a cloth, under which the merchant can repose when tired. In the distance are seen a foot soldier and ascetic, or pilgrim, bearing his water vessels and property on a framework of canes or bamboos slung across his shoulder. 28 THE MAHABHARATA. STORY OF DAKSHA. Daksha is generally described as the son of 1 Brahma and the father-in-law of Shiva. On one occasion he celebrated a great sacrifice in the hope of obtaining a son, but, neglecting -to invite Shiva, incurred his anger. Shiva de¬ termined to spoil the sacrifice, and for this pur T pose created Vira-bhadra, who is described as having a most awful form. Vira-bhadra and his demon assistants destroyed the sacrifice and cut off the head of Daksha. According to this version of the story Dak- sha’s head was restored to him by Shiva and the sacrifice allowed to proceed to a successful issue. Shiva, or Mahadeo, is seen in the drawings, as well as Daksha’s wife, while the principal gods look on from the heavens. 1 THIRTEENTH BOOK. anusAsana parva. HE thirteenth book, or Book of the Precepts, which is almost as long as the twelfth, contains the discourse of Bhishma, and concludes with his ascent to heaven after having reposed fifty-eight days on his bed of arrows. The Razm Namah artists have illustrated several of the stories. STORY OF SUDARSANA. Sudarsana, a Raja who was married to Ukavati, daughter of Kushik, abandoned his dominions and retired with his wife to the forest of Kurukshetra, where they lived quietly and performed works of charity. The King often withdrew to the woods to pray, but instructed his wife never to refuse the request of a Brahman and to grant alms to the poor. One day when he was absent Dharma—God of Justice—presented himself in the guise of a young Brahman, and demanded from Ukavati that she should give him herself. She dared not refuse, and was sitting with the youth in Bhishma also narrated the story of Ashtavakra. great grief when her husband returned with fuel which he had cut in the forest. Sudarsana saw the Brahman talking with his wife, but at once withdrew, as he did not like to break his word and refuse a boon to a Brahman. Dharma immediately resumed his own form and blessed the pair. To the King he gave the reward of immortality, and promised his wife that the upper half of her body should go to heaven with her husband, while the lower should be con¬ verted into a river in whose waters many should bathe and attain salvation thereby. 2 STORY OF ASHTJVAKRA. Ashtavakra was a Brahman saint who had eight defects in his body ; yet he had the bold¬ ness to fall in love with Suprabha, the daughter of King Badana, and to demand her hand. The father agreed to give her on condition that the saint brought some jewels to him from the North. Ashtavakra proceeded first to the resi¬ dence of Kuvera, the Lord of Wealth, where he 1 Plate LXXVII. Artist: Lai. 2 Plate LXXVIII. Artists : Tara and Jaswanta. This is a version of the story of Satyavati, wife of Richhika, who was the sister of Visva-mitra. Kansiki. The river was the ANUSASANA PARVA. 29 was most hospitably treated for more than three thousand years; thence he went to Kailas, the Hindu heaven, and afterwards to a forest called Nilavana. In the forest he saw a splendid building where several penitents were saying their prayers ; he passed them and proceeded to a magnificent palace, to which he was wel¬ comed by an ugly old woman and seven beauti¬ ful girls. He resisted all the wiles they employed to betray him, and at last the matron told him that she was the guardian of the Northern Quarter, who had been sent by the King to test him She added that, as he had come faultless through the ordeal, he was to return to the court of the Raja, where he would be united with the princess. 1 Another of the stories told in the Anusasana Parva is that of the release of the Rishis or sages by Indra. While the seven great sages 2 were once engaged in performing penance a famine occur¬ red in the country. The king of the land wished to give them money to go away, but they declined, and he performed a sacrifice from which was created a witch, kritya, who would be able to kill the sages if she could discover their names. The Rishis were sitting on the edge of a famous tank—Brahma-saras—and were joined by Indra in the form of a fat san- ydsi, or devotee, with a dog. Unknown to them he stole their lotus seeds. When the witch asked their names they all replied in riddles, and Indra, when it came to his turn the second time, killed the old woman and thus saved their lives. He told them who he was, and, having restored their lotus beans disappeared. 3 FOURTEENTH BOOK . Aswamedhika parva. v ,p^ N the Aswamedhika Parva an account of the great horse sacrifice, which Yudhishthira performed by the advice of Vyasa, as he had now become sole ruler of the kingdom, is narrated. As before indicated, the Mahabharata in the ordinary texts gives a curtailed description of the events preceding the sacrifice ; these are, however, described at length in the Aswamedha Parva of the Jaimini-Bharata, which has been included by the compilers of the Razm Namah in their work, and no less than forty-two of the illustrations relate to this division of the great epic. Vaisampayana told Janamejaya that Vyasa proceeded to Hastinapur and urged the King to per¬ form the sacrifce. Yudhishthira at first objected, as he said he was not sufficiently rich, but by prayer to Shiva and Kubera he obtained abundant treasures of all kinds and consented to adopt Vyasa’s advice. Krishna said that a suitable horse would be obtained from the kingdom of Yuvanaswa {jovenas, fleet courser), and Bhima, accompanied by Vrisha-Ketu and Meghavarna, set off to secure it. They came to a tank where the horses of the Raja were watered, and Meghavarna, the cloud- coloured son of the half-demon Ghatotkacha, stole one of the wonderful steeds and bore him aloft 1 Plate LXXIX. Artists : Lai and Bhagwan. The ascetic sits on a tiger skin, the other on a black antelope skin, either being used by devotees. The canopy is crowned with a Moghul dome. The throne and footstool are of the form used in most native courts. 2 The Sapta Rishis, Marichi, Atri, An-giras, Pulastya, Pulaha, Kratu, and Vasishta, who shine in the heavens as the seven stars of Ursa Major. 3 Plate LXXX. Artists : Mukund and Farokh Chela. The fat sanydst, or devotee, and the sages all carry pots for water. 30 THE MAHABHARATA . in the sky among the gods, who beheld the battle which ensued. Meghavarna and his companions were successful. 1 Bhfma and Vrisha-Ketu, son of Kama, fought with Yuvanaswa and his forces, whom they over¬ came. Bhi'ma exerted his vast strength and destroyed the enemy by hurling their own elephants upon them. 2 When peace was restored the King accompanied the heroes with his queen and all his courtiers to the city of Hastindpur, where Yudhishthira received them with great rejoicing. 3 It was determined to invite Krishna, who had retired to Dwaraka, to see the horse set free before the sacrifice, and Bhi'ma left Hastinapur for this purpose. He travelled with great haste and reached the famous city by the sea, worn out with fatigue and very hungry. He passed through the outer gates and came to the apartment in which Krishna and his wife, Satyabhama, were dining. Krishna knew he was near and by way of a joke ordered one of the women to shut the door and to refuse Bhi'ma admittance. The hungry hero is represented as being nearly driven mad with the sweet savour of the food, and as being on the point of succumbing, when his friend, thinking he had secured enough amusement, let him in and satisfied his wants. 4 There are several contests of this kind between Krishna and Bhlma, the relation of which always affords much pleasure to a Hindu audience. Krishna and his family returned with Bhi'ma to Hastinapur. Bhi'ma went on in front and told Yudhishthira that his guests were on the way, and orders were given to make suitable preparations for their reception. The King sat on his throne with Arjuna behind him, while Bhi'ma as minister stood beside his brother, and all awaited the approach of their great friend and ally. 5 Krishna was received by Yudhishthira and his court, and the ladies were conducted to the zenana and heartily welcomed there by Draupadl and all her companions. 6 Krishna afterwards visited them, and at their earnest request Yudhishthira and he consented to allow Dhaumya, the priest, to bring the white horse into the zenana, that they might see it; but unfortunately on the way Anusal, the younger brother of Salwa, whom Krishna had killed at Dwaraka, succeeded in carrying it off. 6 The Pandavas, Pradyumna, and even Krishna, who was much ashamed that the horse had been taken away while on its way to his queens, were at first overcome. Vrisha-Ketu, Kama’s son, however, was more successful and brought Anusal alive as a prisoner to Yudhishthira and Krishna, who pardoned him. 7 All were now happy and were entertained in most princely style by the King. The Razm Namah artists have pourtrayed a great feast given to Krishna and King Yuvanaswa. They have succeeded in giving a very good idea of Indian life in high places. 8 1 Plate LXXXI. Artists : Kanhaand Basawan. The architecture is peculiar,especially the gate pyramid, or gopura, and the Tartar-like towers. The conventional clouds are interesting with reference to the origin of the cloud pattern in carpets (Chapter XVI., vol. i.) 2 Plate LXXXII. Artists : Lai and Madho I. 3 Plate LXXXIII. Artists: Ramdas and Lai. Note the piebald horse in front, a favourite colour, which when accompanied by pink eyes and tail, and hoofs stained with henna, (Lawsonia inermis) makes a noble steed for a preux chevalier. The horse is adorned with garlands like one decked for the dahsahra , or war festival. An attendant waves the chamara and holds the umbrella—the symbols of royalty—over the prince. Music is sounded ; in short, all the signs of rejoicing peculiar to a triumphal entry are ob¬ served. The ceremony of meeting a prince a mile or more outside a town is known as the istakbdl or peshwai. The distance varies with the rank of the guests. 4 Plate LXXXIV. Artists : Jagjiwan and Basawan. A door inlaid with ivory may be seen at in the Jeypore museum. It was taken from the old palace at Amber and was probably made at the time the picture was drawn. The feast is nearly at an end, as one of the women brings forward a basket of garlands, which the host puts round the necks of his guests after they have dined. Another woman carries a basket of fruit covered over with a gauze cloth, which has been sealed before it left the kitchen to prevent the attendants touching it. 5 Plate LXXXV. Artists : Tara and Ramdas. While Yudhishthira is preparing for Krishna’s reception a man arrives and indignantly informs him of the abduction of the horse. The courtiers show their astonishment in various ways : one bites his fingers ; another throws up his arms. Bhima is defiant as he stands while an attendant ties his points. 6 Plate LXXXVI. Artists : Tara and Ramdas. 7 Plate LXXXVI I. Artists: Lai and Paras. Most of the spears have a tuft of hair below the barb, a Tartar custom. 8 Plate LXXXVIII. Artists: Daswant and Bhora. This illustration is an excellent and faithful one of present customs. ASWAMEDHIKA PARVA. As soon as this great festival was concluded presents were distributed and honours accorded to all that were worthy of distinction. Yudhishthira and Draupadf were placed upon the throne and the horse was sent for. It was anointed with perfumes and richly adorned with trappings, and a golden plate was placed upon its forehead, on which was engraved an inscription to the effect that it was the horse intended for King Yudhishthiras sacrifice, and that all who saw it were to attend the aswamedha at the peril of being destroyed by Arjuna, who was following the animal with an army to protect it and assert the Raja’s universal sovereignty. 1 The horse was then set free, when alms were given to the poor, and Arjuna, Yuvanaswa, Anusal, Pradyumna, and their armies followed it. The horse for an aswamedha wandered where it liked for a year. During the twelve months Yud- hishthiras horse had twelve adventures, and Arjuna was obliged to fight in many cases on its behalf. In the Mahabharata the twelve adventures are really as many wonderful legends connected with very remote countries, some of which the animal could not have possibly reached within the year. The horse first travelled to the south in the country of Malwa. The King Nildwaja and his son, who barred the way, were at first defeated, but Agni, the god of fire, who had married a daughter of the Raja, came to his assistance, and, although Arjuna shot arrows which produced water to quench his blazing darts, he did not give way until reminded of the service the Pandavas had formerly done him in his struggle with Indra. 2 The horse next struck against an enchanted rock ( bandparvat ), from which he could not be freed. Arjuna was much surprised, but the Brahmans who were by told him that the rock was a woman named Chandi, who had been cursed by her husband to remain in this condition until the arrival of the horse. It appeared that, when a young girl, she was married to the saint, but had turned out a very disobedient wife. A friend had advised the holy man that when he wanted her to do a thing he should tell her not to do it, and that she would then do what he wished. He followed this counsel with success until one day when he directed his wife to throw the remains of a feast into the Ganges, whereupon she cast the food to the pigs and was consequently cursed. Arjuna freed her and restored her, now in a right state of mind, to her husband. 3 In the third adventure the horse came to the city of Chitapur, where the people worshipped one god and men married only one wife. The Raja determined to fight, and before leaving the city swore that anyone who failed to march out with him should be thrown into a cauldron of boiling oil. Unfortunately his son Sadhanwa delayed for a few last words with his mother, wife, and sister, and the King was compelled to carry out his own rash vow. Sadhanwa, however, prayed to God and the oil became cold, so that he was unhurt, the gods themselves expressing their approval by showering down garlands from the sky. 4 Sadhanwa, who was the King Hansadhwaja’s eldest son, afterwards fought with Arjuna and overcame him. Arjuna then remembered Krishna, who appeared before them, and the prince was slain by his own arrow, which fell and cut off his head before Krishna’s feet. 5 Suratha, Sadhanwa’s younger brother, continued the struggle, but his chariot was upset and he was dragged from his seat with the tail of Hanuman, which the deified monkey lengthened for the purpose. Arjuna then killed him. 6 Mahadeo now intervened and peace was made between Arjuna and Hansadhwaja. 7 The horse next entered a pond in which he was changed into a mare. In a second pond he became a tiger, but Arjuna prayed and he resumed his proper form. 3 In the first tank Parvati used to pray when she was propitiating Shiva. A demon once interrupted her and she destroyed him, 1 Plate LXXXIX. Artists : Lai and Mukund. 2 Plate XC. Artist: Tulsi. 3 Plate XCI. Artist : Jagan. 4 Plate XCII. Artist : Khem Karan. When the gods are particularly pleased they shower flowers from heaven and celestial music sounds. 5 Plate XCIII. Artists : Lai and Tulsi. The prince is slain by his own arrow in honour of Krishna. 6 Plate XCIV. Artist: Mahesha. 7 Goose Standard. 8 Plate XCV. Artists : Anis and Jagjiwan. This epi¬ sode is introduced merely to show the power of religious intercession. THE MAHABHArATA. at the same time foretelling that any living being who in future entered the water of the tank should become a female. The water of the second tank was cursed by a Brahman who had been attacked by a tiger there. In the fifth adventure he came to a land of Amazons, whose queen, Paramita, mounted on an elephant and at the head of a large army of women, opposed Arjuna, but he had the good sense to obtain her countenance by promising her marriage as soon as the aswamedha was concluded. She therefore joined his ranks. 1 The horse then came into a country where the trees produced as fruit men, women, and animals which lived but a day, and where the inhabitants were monsters with blanket ears, in which they wrapped themselves at night. 2 By the advice of his Brahman minister, who wore a necklace of human heads, the wicked demon—who was called Begumdeo or Vibishana—fought with Arjuna, but was conquered. During the battle a she demon told the King that Hanuman was one of Rama’s allies in the great war with Ravana, the King’s brother, and offered to kill him, but was slain herself by that hero. 3 Arjuna and Vibishana fought together, and the latter by magical arts turned himself into a frightful serpent, but was killed, as the great Pandu was taught how to subdue him by a celebrated saint. 4 Great treasure was obtained on this occasion and the land was freed from its abominable oppressors. In the seventh adventure the horse came to the country of Manipura, which was ruled by Vabhru-vahana, the son borne to Arjuna by the Princess Chitrangada during his exile. The people are represented as being all virtuous ; there were no liars ; the women were all obedient to their husbands, and the men were all brave. The Sanskrit language was spoken everywhere. In short, the general wealth and happiness led strangers to think this country a second Paradise. The Raja, finding his father was in charge of the horse, determined to offer the whole of his possessions to him, but Arjuna, predestined to be slain, denied that Vabhru-vahana was his son, smote his head with his foot, and insulted him and his mother. 5 He taunted him with cowardice. The Raja was therefore compelled to fight. At this stage of the story in the Jaimini-Bharata Aswamedha Janameyaja is represented as having asked Vaisampayana to narrate the history of Rama’s great sacrifice, which he consented to do. He said that after Si'ta had undergone so successfully the ordeal by fire she and her husband ruled in Ayodhya for many years in all peace and happiness, but there came a time when Rama heard that some of his subjects censured him. One of his servants told him that he overheard a washerman quarrelling with his wife, who said she would leave him. He replied that she might do so, but he was not great like Rama, and therefore able to take back again a wife who had absconded. The words rankled in Rdma’s breast; he therefore determined to abandon Sita, and ordered Laksh- mana to take her into the forest and leave her there. Lakshmana remonstrated in vain, and was compelled to take Si'ta to the woods, where he left her. 6 The peerless queen took refuge in the hermitage of one of the sages, Valmiki, the narrator of the Ramayana, and there soon brought forth two twin sons, Kusa or Kash and Lava, who grew up to be valiant warriors and noble youths. Some time after this Rama, now left alone, began to feel unhappy at having killed Ravana, the 1 Plate XCVI. Artist unknown. Here Arjuna suc¬ cumbs to the charms of woman. This episode as well as all those relating to the adventures of the horse are pro¬ bably the invention of quite a modern author who had heard in some distorted fashion of the classical myths of Europe. 2 Plate XCVII. Artist unknown. This plate has been chosen for a chromolithograph because of the beauty of the colouring and great and marvellous variety of expression of the characters. 3 Plate XCVIII. Artist : Kanha. 4 Plate XCIX. Artists : Kanha and Dara. The demon can assume many forms. 5 Plate C. Artists : Daswant and Miskinah. Whom the gods would destroy they first deprive of their senses. So it was with Arjuna. The reader may also be reminded of the stone in the vestibule of St. Mark’s at Venice which marks the spot where Pope Alexander III. placed his foot on the head of the Emperor Frederick Barbarossa after he had been defeated by the Doge Sebastiano Ziani. 6 Plate CL Artists : Mahomed Sharif and Kesho. In the foreground are seen the spotted deer (chital) and the black antelope. ASWAMEDHIKA PARVA. 33 son of the Brahman Palastya, and therefore determined to perform an aswaniedha to atone for the crime. A horse was procured, set free, and followed by an army under Satrughna, Rama’s brother. It wandered into the forest where Kusa and Lava dwelt, and was seized by the youths, who defended their spoil against all comers. At first Lava was carried off, but his brother came to his help and overcame one of Satrughna’s great chiefs, 1 as well as Naga, the brother of the latter, whose head, on account of his heroism, Shiva took up and placed in his chaplet. 2 Kusa attacked Satrughna, who fell senseless in his car, 3 4 5 and was thus able to release Lava. The news of his brother’s defeat and the seizure of the horse was brought to Rama while he was performing some of the preliminary ceremonies of the aswamedha ; 4 he was greatly astonished, and told Lakshmana to do his utmost to recover the animal and punish the offenders. It was all in vain. Kalajita, Lakshmana’s general, was killed and he himself wounded. 0 Lava was surrounded by Rama’s army, but his brother Kusa performed prodigies of valour, 6 and once again Rama had the mortification of hearing that his forces were defeated. Bharata, Rama’s brother, and Hanuman, who led the troops of the King, when next they were matched against the young heroes were both wounded 7 and taken prisoners, together with Jambavat, the ruler of the bears. Kusa led away Jambavat, and Lava conducted Hanuman before Sita, and finally Rama himself appeared, and the whole mystery was revealed. 8 The dead were restored to life by the prayers of Sita and Valmiki, and the youths reconciled to their father, who was able to finish his sacrifice in peace. The history now reverts to the struggle at Manipura between Arjuna and his son. Vabhru-vahana seized the horse and killed Vrisha-Ketu, son of Kama, 9 and Arjuna, 10 who came to its release. When Arjuna died the princess Chitrangada was greatly distressed, as also Ulupi, the daughter of Vasuki, the serpent lord, another of the wives married by the great Pandu in his exile, but now resident at Manipura. The latter recollected that the serpents possessed a jewel which could restore Arjuna to life, and sent to the lower world for it ; but although Seshanaga, the great thousand-headed snake on which Vishnu reclines, advised that the gem should be given up, he was overruled, as the owners feared it would not be returned. Vabhru-vahana therefore proceeded to the nether world with an army and fought the serpents, whom he overcame by shooting arrows which produced pea fowl, ichneumons, ferrets, and ants, their natural enemies. He was also aided by their great foe Garuda, the vulture king and vehicle of Vishnu. 11 The serpents now gave up the jewel, and Seshanaga himself bore it to the battle field. Krishna, Bhima, Kunti, and other ladies were also present, having been conveyed thither on the back of the bird Garuda. 12 There was some delay in finding Arjuna’s head, but this difficulty was overcome ; it was united to the body, and on the application of the gem by Seshanaga the hero was restored to life and reconciled to his son. 13 Vrisha-Ketu and other slain heroes were also healed. 1 Plate CII. Artist: Nanwa. 2 Plate CIII. Artist: Madho I. It was considered an honour to have the head of an hero placed in Shiva’s necklace. 3 Plate CIV. Artists : Mahomed Sharif and Banswari. 4 Plate CV. Artists : Mahomed Sharif and Banswari. 5 Plate CVI. Artists : Manu and Basawan. 6 Plate CVII. Artists : Unknown. 7 Plate CVIII. Artists : Daswant and Bhagwan. 8 Plate CIX. Artists : Lai and Paras. 9 Plate CX. Artists : Lai and Chatarbhuj. it> Plate CXI. Artists : Lai and Bhagwan. When any¬ one of great importance is to be slain, an unusual weapon must be used. The Jeypore archers still make crescentic- pointed arrows. 11 Plate CXII. Artists : Basawan and Tiilsi I. Fortu¬ nately the snake has many enemies, and the principal are represented here, especially the peacock and mongoose or ichneumon. 12 Plate CXIII. Artists : Madho and Basawan. At the top of the picture are seen the robbers who stole the herd of Arjuna. 13 Plate CXIV. Artists : Lil and Mahesh Narayan. Seshanaga was the great serpent of infinity with a thousand heads, the vehicle of Vishnu—the preserving god—of whom Krishna was an incarnation. Shiva, Brahma, and Vishnu shower down flowers from the sky. The clouds are here, contrary to the usual rule, painted as in nature. 34 THE MAHABHARATA. The horse reached the country of King Mewaradhwaja, who was also performing an aswa- medha, and had despatched his horse in charge of Raja Tamradhwaja, his son. When the two animals met they fought together, and as Tamradhwaja seized the one which belonged to the Pandavas a struggle arose between the two armies, which continued for seven days. In the course of the battle the King threw Arjuna’s chariot into the air, where it would have been dashed to pieces had not Krishna caught it. 1 The horses were taken into the city. When King Mewaradhwaja heard what his son had done he was displeased, and warned him not to fight against Krishna and Arjuna. Next day he did not appear in the field. Krishna and Arjuna therefore went into the city, disguised as Brahmans, to reconnoitre. They passed into the palace and told the King that a tiger had conveyed away the son of Krishna, and could only be appeased by being given half the body of the Rajas son—a boon which a Kshatriya would hardly deny to a Brahman. The King, however, agreed to sacrifice himself, and directed his wife and son to saw him in two ; but Krishna, perceiving a tear in the victim’s left eye, stopped the sacrifice, as the offering was an unwilling one. The King explained that the tear tell because both sides were not considered worthy of the Brahman’s acceptance, which so pleased Krishna that he put an end to the proceedings and told them who he was. 2 The horse was at once liberated, and travelled to the dominions of Viravarman, the son-in-law of Yama, Regent of Death, Raja of Sarasvatu, who detained it. During the battle which followed the King carried away Arjuna’s car into the air; but Hanuman coiled his tail round the chariot of Viravarman and upset it. The Raja struck him in the breast, and so the struggle continued until he was overcome and compelled to own the Pandavas as conquerors. 3 When the horse arrived in the country of Chandrahasa, Raja of Kotewal, somewhere, near the modern Gwalior, the sage Narada related the following story of the early life of that prince :— STORY OF CHANDRAHASA AND BIKHYA. In the furthest extremity of the Dekhan there lived a Raja who was overcome by his enemies and slain. His wife became sati, and his only child was taken to the country of Kutuwal by a faithful nurse, who supported him for three years, and then died without revealing his origin. The boy lived on the charity of the country people. One day he wandered into the house of the Raja’s minister; but, as the astrologers observed something unusual about the child and foretold his future greatness, that official ordered some Chandalas, or low-caste men, to slay him. They, however, only abandoned him in the forest, where a dependent of the minister found him. The good man adopted the orphan and from that day prospered. The child, who was now called Chandrahasa, or ‘ Moon-laughing,’ grew into a handsome and valiant man, and delivered the people from rebels who had oppressed them. The minister told the King that one of his own followers had done this great service, but, jealous of his prosperity, went himself to inquire into the cause of the success of his dependent. Before his departure his daughter had deli¬ cately hinted that she wished to marry, and the nature of the reply she received led her to think that her father favoured her wishes. The minister soon discovered who Chandra¬ hasa was, and that to him his servant was indebted for his good fortune ; and, as he feared that his schemes in favour of his own son Madana, whom he hoped the Raja would adopt as his successor, would be risked if Chandra- 1 Plate CXV. Artists : Basawan and Kanha. Tamra¬ dhwaja (Copper-banner) was also performing an aswa- medha , but he had to give up his horse to Arjuna. 2 Plate CXVI. Artists : Lai and Bhagwan. This is a favourite picture subject. The country where the event is said to have happened is in the Jeypore State, not far from Hindown, where there is a tank called the Morsagar, so named in honour of the Raja of Rutnapura. 3 Plate CXVII. Artists : Basawan and Anis. ASWAMEDHIKA PARVA. 35 hasa lived, he determined to get rid of him, and to this end wrote a letter to Madana, which he sent by the hand of his enemy. Chandrahasa took the letter to the capital, but, being very weary, tied up his horse in a garden in the suburbs of the town and fell asleep on the bank of a tank close by. Now it happened that the garden belonged to the minister, and that Bikhya, his daughter, was refreshing herself there with the princess and her companions. Wandering apart from her friends, she saw a handsome young man asleep with a letter partly protruding from his pocket. She took the letter, and was surprised to find that it was from her father to her brother, and was to the following effect:-—‘ The bearer is my enemy , and must be got rid of; so, without enquiring as to his lineage or name, at once give him poison.’ Thinking it a pity that one so handsome should die, and believing her father wanted her to be married, she took the liberty of altering the meaning of the letter by changing the word 1 2 shatru,’ enemy, to ‘ mitra,’ friend , and ‘ bikha ,’ poison, to ‘ Bikhya,’ her own name. 1 Chandrahasa awoke and delivered the letter to Madana, who, although much astonished, at once carried out the order. The minister arrived just as the marriage had concluded, and was congratulated by his friends, much to his annoyance.' He was extremely indignant, but when the letter was produced thought fit to disguise his resentment and dispose of his enemy in another way. He told Chandrahasa that it was the custom of his family that all who married into it should present a golden cup containing incense to the goddess Durga, and hired men to assassinate him in the temple. In the meantime the Raja had decided to abdicate, and hearing so much in favour of Chandrahasa, determined to nominate him as his successor. He was not aware that the minister had returned, and therefore sent to Madana instructions to order Chandrahasa to go at once to the palace. Madana found his brother-in-law on the way to the temple, and undertook his duty for him, in order that he might go before the Raja. The assassins slew Madana and the orphan was placed on the throne. The minister, finding all his schemes turn against him, killed himself by the body of his son ; but Chandrahasa, as soon as he learned what had occurred, went to the temple and prayed to the goddess Chandrika, afflicting himself until he became a shadow, so that the deity granted him the boon of the restoration to life of his new relations. 3 This adventure appears to have been only introduced for the sake of the story. In the next adventure the horse passed the northern mountain and entered the sea, and, at the word of a sage who had sat on an island during the duration of many worlds, it came from the waters and wandered on to the city of the son of Jayadratha, the abductor of Draupadi, where the king swooned from fear of Arjuna’s name, but was restored to his senses by Krishna. The twelfth adventure is the triumphant return to Hastinapur, where Yudhishthira was found sitting dressed in a deer’s skin on the shore of the Ganges. The conqueror was, however, received more formally by the King and populace. Krishna and all the chieftains of the family went out to meet Arjuna, accompanied by the whole people, with all the pomp and grandeur of Eastern state. The walls were decorated, the streets watered ; music played, and garlands were showered down upon the heroes and their tiain. A long description of the aswamedha follows. A golden throne was set up on a high place for Raja Dhritarashtra and another near it for Yudhishthira, while the great chiefs were seated 1 Plate CXVIII. Artists : Tara and Tdlsi. This charming garden scene has been selected to present in colour to show how well the old Moghul artists could depict domestic scenes. 2 Plate CXIX. Artists : Madho and Lai. The mar¬ riage is performed under a canopy, or shamidnah. The bride and bridegroom hold cocoa nuts and plantains are at hand, both symbols of fruitfulness. Garlands or wreaths of leaves of the Foinseitia pulcherrima are hung over the doors and music plays. All are happy except the father, who, however, listens as his own letter is read to him, in which the order for marriage is given. 3 Plate CXX. Artists : Basawan and Chitra. Note the screw pine tree (Pctndcinus odoTcitissvnus ), or kcoftz, behind the goddess. The Hindu temple is made to take a some¬ what Saracenic form. The goddess is Parvati or Durga, the wife or essence of Shiva. 36 THE MAHABHARATA. close by. The Raja and Draupadf bathed themselves, and the former ploughed a space with a golden plough, which his train sowed with every kind of grain that grew in the country. Prayers were recited, and the sacrificial ground paved with golden bricks and covered with a roof supported on eight golden pillars. Eight pits were dug for the homa , which was composed of milk, curds, and clarified butter, and all kinds of food and herbs were added to it. A procession of rajas and their wives now brought water from the Ganges, and, after the sacrificial fires were lit and the homa poured upon them in ladles, they emptied the contents of their pitchers upon Yudhishthira’s head. 1 The horse was brought, and, after water had also been thrown over him he said he was about to rise to the highest heavens. His head was then cut off by Bhfma, and it ascended to the heaven of Brahma. 2 The body was opened and the flesh cast on the fires. The sacrifice concluded with the presentation of gifts to the Brahmans and rajas. When Krishna was on his way to Dwaraka before the aswamedha he passed through the country of Marwar. He met Utanka, a celebrated muni , or saint, of great sanctity, who, on hearing the story of the war, was about to curse him for having destroyed the Kurus ; but when Krishna explained his divine nature the wrath of the sage was averted and he asked for some amrita, or immortal food. King Indra, who had charge of the amrita, at Krishna’s request appeared in the form of a low- caste Chandala with his dogs, and offered some of the wonder-working fluid to Utanka, who refused to take it from the hand of such a low person. 3 Krishna appeared in his form as Chatarbhuj, or the four-armed god, admonished the sage, and caused a peculiar cloud to appear, which brought forth abundant rain. The peculiar cloud, which to this day is the harbinger of rain in the desert land of western Marwar or Jodhpore, is known as ‘ Utanka megha,’ or in Hindi ‘ Utank badali,’ the cloud of Utanka. The reason why Utanka wished to curse Krishna was that he hoped to obtain the help of Indra in recovering some earrings which he had brought for his spiritual teacher’s wife. They had been given to him by the queen of Sheodas, King of Ayodhya, but on the way had been stolen by some snakes or Nagas, who had taken them to Patal, the lower world. Indra helped to get Utanka down to Patal, where Agni appeared in the shape of a horse of fire and blinded the snakes, who restored the gems to their rightful owner. 4 When Krishna reached Dwaraka he told the history of the war to his father, Vasudeva, and at first concealed from him the death of Abhimanyu; but Subhadra found it out, and to soothe their grief Krishna foretold the birth of a child to Uttara, the wife of the departed prince. In due time the child ‘ Parikshit' was born, but he was dead; for after Aswatthaman had killed the sons of Draupadf he was pursued by the Pandavas, who found him in the act of discharging an arrow which would slay their ether grandchildren, though yet unborn. This arrow now took effect, but Krishna was able by pronouncing a few words to restore it to life, to become hereafter the King of Hastinapur. 5 1 Plate CXXI. Artists : Basawan and Kanha. The queens and royal princesses carry the water vessels from the river. 2 Plate CXXII. Artists : Basawan and Kanha. Ob¬ serve the head of the horse, which has ascended to the heaven of Brahma. 3 Plate CXXIII. Artists : Lai and Sankaran. The saint is taught that even the hand of a low-caste man can be made worthy of holding the immortal food. 4 Plate CXXIV. Artists : Basawan and Miskirah. Here we have snakes of several kinds, but chiefly the cobra di capello (Naja tripudians). 5 Plate CXXV. Artists : Mukund and Lai. Garlands of leaves are suspended in token of rejoicing. Gifts are distributed to the Brahmans and the poor, but the child is born dead, slain by the wondrous arrow of Aswatthaman, which destroyed infants yet unborn. The females are preparing spiced drinks for the mother, while one woman is warming her hands over a brasier of charcoal ( angethi ), so that she may without injury shampoo or rub the patient. C, ASRAMA VASIKA PARVA. 37 FIFTEENTH BOOK. ASRAMA VASIKA PARVA. N the fifteenth book, or Asrama Vasika Parva, it is narrated how Dhritarashtra and the Pandavas lived for a time happily together at Hastinapur, but there was always an unfriendly feeling between Bhi'ma and the old monarch, who could never forgive the former the prominent and somewhat unfair part he took in slaying his sons. He therefore, after a time, retired with his wife and Kunti to the forest, where they dwelt in a hermitage on the banks of the Ganges. The Pandavas visited their relatives, and while with them the sage Vydsa consoled the party by calling up from the Ganges the ghosts of all who were slain in the great war. As soon as the sun was set he prayed, and cried out the names of the departed one by one. Immediately the water began to boil and foam ; then, amidst a mighty sound of music, the dead warriors rose up in full armour, seated in their chariots, appearing in great glory and beauty, friend and foe conversing amicably together, while bards and singing men and women rehearsed their praises. They conversed with the living until the dawn, when the dead returned into the stream, but Vyasa permitted their widows to accompany them. 1 The Pandavas now went to their homes, and soon afterwards Dhritarashtra and his party perished in a forest fire. SIXTEENTH BOOK. MAUSALA PARVA. HE Pandavas were disturbed by fearful omens, portending they knew not what, but in due time the alarming event they feared took place : it was no less than the destruction of Dwaraka and the race of Krishna, the story of which fills up the sixteenth book, or Mausala Parva. Three Brahman sages, who were insulted by some men of the race of Krishna, were cursed by them. They said that Sdmba, his son, would bring forth an iron club with which they should destroy each other, while Krishna and his brother Balarama should also die. The club was produced, but ground to powder and the dust thrown into the sea, whence, however, it floated to land and sprang up as grass on the shore. Shortly afterwards, at a great feast, the Andhakas and Yadavas (race of Krishna) drank wine, the use of which had been forbidden. Balarama and Kritavarman sat on one side of Krishna and Satyaki and others on the other. Satyaki taunted Kritavarman for slaying the sleeping Pandavas, which led to a quarrel in which Satyaki cut off the head of the latter. 2 The fight now became general and ended in all being slain, for weapons were ready in the grass that had sprung from the iron powder, and which now, in the hands of the combatants, became clubs. 3 1 Plates CXXVI and CXXVII. Artists : Basawan and Chatarbhiij. The elephant drivers ( mahdwats) at the top of the picture hold goads of iron ( ankas.) 2 Plate CXXVIII. Artist : Bhagwan. 3 Plate CXXIX. Artist : Bhagwan. The reeds turn to clubs, as foretold by the sages, and brother kills brother and friend kills friend. 33 THE MAHABHARATA. Krishna sent to Hastinapur begging Arjuna to come to take charge of the women. He left Balarama under a tree and hastened to Dwaraka to his father, to beg him to take care of his family until his friend’s arrival. When he returned to Balarama he found him dead and a huge, many-headed serpent emerging from his mouth and entering the sea, where it was welcomed by Vasuki and Takshaka with many other renowned snakes 1 Balarama was said to be an incarnation of the great thousand-headed snake, Seshanaga, whom the Hindus look upon as the supporter of the world. The weary Krishna, while reclining in deep meditation in the forest, was shot in the foot by Jara a Bhil, who mistook him for game. 2 Krishna, like Achilles, was only vulnerable in this spot. The point of the arrow was said to have been formed of a part of the famous club which escaped destruction. Arjuna soon afterwards arrived, and, after burning the dead, took away the remaining popula¬ tion to the neighbourhood of Hastinapur. Dwaraka then became submerged in the ocean. On the road many of the survivors were killed by freebooters, as Arjuna had lost much of his strength and could not protect them as of old. SEVENTEENTH BOOK. mahAprasthanika parva. AND EIGHTEENTH BOOK. SWARGA-ROHANIKA PARVA. HE seventeenth and eighteenth books, called Mahaprasthanika Parva and Swarga-rohanika Parva, narrate the renunciation of their kingdom by the Pandavas and their journey to the heaven of Indra in Mount Meru. They instal Parikshit as King of Hastinapur and Yuyatsu, son of Dhritardshtra, as Raja of Indraprastha, and then with Draupadf and a dog retire to the forest, wandering on with their faces to the east, ‘ their hearts yearning for union with the infinite.’ First Drapuadf lost hold of her high hope and fell, and one by one the others, save Yudhishthira and the dog, who were met at last by Indra himself, who wished to take the King to heaven, telling him that his brothers and Draupadi were there, but Yudhishthira refused to go without his dog. This difficulty was got over, however, as the dog turned out to be his own father, or the King of Justice, in disguise, who now assumed his proper form and, praising him for his constancy, accompanied him to heaven. Yudhishthira could not be satisfied, as, although he found the Kauravas, the Pandavas were nowhere to be seen. An angel, therefore, accompanied him across the River of Death to the hell where his brothers were supposed to be. In another place it is stated that he was condemned to go to this hell 1 Plate CXXX. Artist: Basawan. The artist has well represented the gloomy solitude of the forest. 2 Plate CXXXI. Artist : Mukund. Brahma and Shiva look on from above. Vishnu is absent, for he is incarnate as Krishna. Indra is also in the sky with another deity. Rays of glory emanate from the dying Krishna. MAHAPRASTHANIKA PARVA—SWARGA-ROHANIKA PAR FA. 39 because he once told a lie—that is, when Drona was deceived into thinking his son dead. This awful hell is shown in Plates CXXXII. and CXXXIII. 1 The voices of his brothers begging relief reach him, and he asks to be allowed to remain with them, and now discovers that the whole scene was illusion invented to test him to the utmost. His trials are over, and in the true heaven he is reunited to all he loved and attains the rest denied him on earth. The writer may fitly conclude this brief epitome of the Mahabharata by transcribing, with the author’s kind permission, a few verses from the ‘ Indian Idylls ’ of Mr. Edwin Arnold, C.S.I., in the hope that others will be encouraged to study the whole of his graphic and beautiful versions of many of the episodes in the great Indian epic. The hell to which Yudhishthira was led is thus portrayed :— An angel was sent To guide the King there where his kinsmen were. So wended these, the holy angel first, And in his steps the King, close following, Together passed they through the gates of pearl, Together heard them close ; then to the left Descending,—by a path evil and dark, Hard to be traversed, rugged,—entered they The Sinners’ Road. The tread of sinful feet Matted the thick thorns carpeting its slope ; The smell of sin hung foul on them ; the mire About their roots was trampled filth of flesh Horrid with rottenness, and splashed with gore, Curdled in crimson puddles ; where there buzzed And sucked and settled creatures of the swamp, Hideous in wing and sting, gnat clouds and flies, With moths, toads, newts, and snakes, red-gulleted, And livid, loathsome worms, writhing in slime Forth from skull-holes and scalps and tumbled bones. A burning forest shut the roadside in On either hand, and ’mid its crackling boughs Perched ghastly birds, or flapped amongst the flames,— Vultures and kites and crows,—with brazen plumes And beaks of iron ; and these grisly fowl Screamed to the shrieks of Prets ,—lean, famished ghosts, Featureless, eyeless, having pin-point mouths, Hungering, but hard to fill,—all swooping down To .gorge upon the meat of wicked ones ; Whereof the limbs disparted, trunks and heads, Offal and marrow, littered all the way. By such a path the King passed, sore afeared If he had known of fear, for the air stank With carrion stench, sickly to breathe ; and lo ! Presently ’thwart the pathway foamed a flood Of boiling waves, rolling down corpses. This They crossed, and then the Asipatra wood Spread black in sight, whereof the undergrowth Was sword-blades, spitting, every blade some wretch ; All around poison trees ; and next to this, Strewn deep with fiery sands, an awful waste, Wherethrough the wicked toiled with blistering feet, ’Midst rocks of brass, red hot, which scorched, and pools Of bubbling pitch that gulfed them. The King was horror-struck, yet would he not abandon the ‘ poor souls unknown,’ but told the ano-el to return to those he served, and to tell them that he would bide in hell with those he loved. When the message reached the gods they came down— Pure as the white stars sweeping through the sky, And brighter than their brilliance—look! hell’s shades Melted before them; warm gleams drowned the gloom ; Soft, lovely scenes rolled over the ill sights ; Peace calmed the cries of torment; in its bed The boiling river shrank, quiet and clear ; The Asipatra Vana—awful wood ! — Blossomed with colours ; all those cruel blades, And dreadful rocks, and piteous shattered wreck Of writhing bodies, where the King had passed, Vanished as dreams fade. 1 Plates CXXXII. and CXXXIII. Artist : Mukund. The calm, benignant countenance of the heavenly mes¬ senger and the noble but horrified expression on the King’s face are powerfully contrasted. The wonderful con¬ ception of the poet has been faithfully rendered by the artist, whose imagination has run riot in depicting every possible form of torture. 1 Plate CXXXIV. Artist: Paras. Contrast the storm above with the peace below, where the females still churn their cream and the peasants work undisturbed. Plate CXXXV. Artist : Thirpal. Plate CXXXVI. Artist : Unknown, THE MAHABHARATA. SUPPLEMENTARY BOOK. KHILA HARIVANSA PARVA. HE Khila Harivansa Parva, or nineteenth and supplementary book, contains the history of Krishna and his family, and of the creation of the world and all creatures, of the different incarnations of Vishnu, and of the future condition of the earth. Vaisampayana narrated this history in order that Janamejaya might be fully acquainted with the deeds of his ancestors and relations. Krishna, the Indian Apollo, is usually recognised as the ninth incarnation of Vishnu, the preserving member of the Hindu triad, who appeared to revive the worship of that deity. Some authorities have seen in the history of this hero a connection with the Gospel account of the life of Christ, and there is in many respects a remarkable resemblance, though there are quite as many points of divergence between the two narratives. As Krishna is the popular god of the women and of many important Hindu sects, the stories of his life are largely read, especially in the Prem Sagar and other popular versions of the tenth chapter of the Bhagavat Purana. Krishna, the reputed son of Nanda, the cowherd, and Yasodha, his wife, was, so the world believed, born at Brindabun, on the left bank of the Jumna. In reality he was the son of Vasudeva and Devaki, relations of Kansa, the tyrant and usurping King of Mathura, on the opposite side of the river, who had determined to slay Vasudeva’s male children, as it had been foretold that he should be destroyed by a son of his. When Krishna was born his father took him across the J umna and changed him for the daughter of the cowherd. Krishna’s life amongst the cowherds is described at length ; how at times he amuses himself by playing pranks of all kinds with the children, but occasionally, in his divine character, astonishes them by destroying demons sent to kill him. Krishna objected to the worship of Indra, which the cowherds followed, and advised that they should pay their adoration to Govardhan, the spirit of the mountain. The king of the celestials, angry at their change of worship, tried to destroy the impious peasants by a fearful storm, but Krishna protected them by making the mountain red hot and raising it on his little finger like an umbrella. 1 Amongst the demons sent by Kansa was Kesf, a large and terrible horse, whom Krishna killed by thrusting his arm down his throat 2 Now Raja Kansa performed a great sacrifice to Shiva, at which Krishna, his elder brother Balarama, and the cowherds attended. They first beat the royal washerman, helped themselves to the King’s clothing, and proceeded to the palace, where Krishna bent the great bow of Shiva, which hung at the gate, and slew the warders with many men the Raja sent against them. The brothers also killed the royal elephant and the state wrestlers, and at last Krishna and the King had a fearful combat, in which the latter was dragged down by the hair and killed. 3 The people wished to place Krishna upon the throne, but he gave the crown to the old Raja Ugrasena. The father-in-law of Kansa, Jarasindhu, King of Magadha, came to punish the conqueror. He * KHILA HARIVANSA PARVA. 4i was many times defeated, but Ndrada, the sage, induced Kaliydman, the Regent of Death, who had been promised that he should never be slain by any of the Yddavas, to come to his help with a huge army of barbarians. Krishna secured Kaliydman’s death by flying before him to the cave where Rdjd Muchkund, of the race of Ishwdku, slept. When Kaliydman entered the cave he woke the King and was burnt to ashes by his glance. Krishna and Balarama returned to Mathura to fight with Jardsindhu, and when the battle was going against them ascended the mountain Gautama. 1 Their enemies burnt the woods on its slopes, hoping to kill the heroes, but they escaped to Dwarakd, which Viswakarma, the architect of heaven, built on the western sea coast for Krishna—on the quoit Sudarsana. The people had already been removed with all their goods and treasures to this safe retreat. 3 Balardma, who is always represented as fighting with a plough and pestle, slew a host of his enemies before withdrawing. In the Prem Sagar, as well as in the supplementary chapter of the Mahdbhdrata, many of the adventures are narrated of Krishna and his family while they resided at Dwaraka. There is a long account of the marriage of Balardma to Rewati and of the abduction by Krishna of Rukmini, who had been bethrothed to Sisupdl Rdjd, of Chanderf, the king who was afterwards killed at the Rajasuya of Yudhishthira. 4 Balarama defeated the injured prince and his ally Jardsindhu, and his brother bore away Rukmini and married her. Krishna had not been formally made an anointed prince; it was therefore decided to perform the ceremony, to enable him to take his proper place at Rukmini’s swaydmvar. This was done by Rdja Ivrita-Konshika in an assembly of kings. 2 A famous history is narrated of a combat between Indra, King of Swarga, or Heaven, and Krishna. Satyabhama, one of Krishna’s wives, was angry because he gave Rukmini a flower of the Kalpa tree (Parijata), which grew in heaven and endowed its possessor with the power of obtaining all his wishes. It had been presented to him by Ndrada, the sage. He promised to give her one also, but Narada found that Indra would not grant the boon, as the tree belonged to the gods. Krishna determined that he would have the tree, the very sight of which made old people young and restored the blind their sight. He therefore mounted on Garuda and made war against Indra, who, seated on his renowned elephant Airavata, pierced the sacred bird with many arrows, but had to withdraw from the conflict and yield up the tree, which Krishna presented to Satyabhdma, who bound the neck of her divine husband to it with a garland of flowers. 5 It remained in Dwarakd a year and was then restored to heaven by Krishna. At the suggestion of Narada, the sage, Nikumbha, a demon, came to fight with Krishna, but was defeated and slain. 6 Janamejaya asked Vaisampayana to tell him the story of the death of Andhaka. Krishna killed the sons of Ditis, who obtained from Kasyapa the boon of having other children whom the deities could not slay. From her was descended the Asura Andhaka, who oppressed the world. The holy saints thought of killing him, but were told that Mahadeo alone could do so. Ndrada obtained some flowers of the Parijata tree from the garden on the Mandara mountain and permitted Andhaka to smell them, who was so pleased that he determined to get some also, and so exposed himself to the wrath of Mahadeo, who dwelt on the mountain and slew him with his trident. Vaisampayana next narrated the history of the Asura Vajranabha, who obtained from Brahma as a great boon the sovereignty of the three worlds. Krishna promised Indra that he would kill his foe, and by stratagem induced his daughter to fall in love with his own son, Pradyumna, an incarnation of Kama or Kamdeo, the Hindu god of love. Pradyumna visited her, obtaining 1 Plate CXXXVII. Artist : Farokh Chela. Balarama here does most of the fighting. 2 Plate CXXXVIII. Artist: Madho I. 3 Plates CXXXIX. and CXL. Artists : Unknown. The washerman is shown working in peace, to indicate that the people of Mathura found themselves in Dwaraka without even knowing that they had been moved so far. 4 Plate IX. 5 Plate CXLI. Artist : Mukund. 6 Plate CXLII. Artist: Tulsi. 7 Plate CXLIII. Artist: Thirpal. Shiva uses his own weapon, the trident, on which Benares is said to be upheld. 42 THE MAHABHARATA. admittance as a bee in a garland. He and other Yadavas fought with her father and slew him with Krishna’s discus. 1 The story of Pradyumna’s birth is interesting. He was born to Rukmim, the wife of Krishna, but was in truth an incarnation of Kamdeo, god of love, who had been burnt to ashes by Shiva for disturbing him while sitting in meditation. King Sambhar, whose destroyer it was foretold the infant should be, carried him away and cast him into the sea, where a fish swallowed him. The fish was caught and opened in King Sambhar’s kitchen by Rati, Cupid’s wife, who dwelt there in disguise. She recognised the boy as her husband, and carefully brought him up until he grew strong enough to fight and overcome Sambhar. 2 After Sambhar’s death he and Rati went to Dwaraka, where in due time they had a son named Annirudha, who was married to Usha, daughter of Banasur, a powerful worshipper of Shiva, who had granted him great strength and the empire of the world. Usha and Annirudha were brought together by the power of a female friend of the former. Banasur discovered the intrigue and imprisoned the youth, to whose rescue hastened Krishna, Balarama, and their armies. Shiva came to the help of his worshipper, but, after reflecting that a combat between himself and Krishna would involve the destruction of the universe, he made Banasur, all of whose thousand arms except four had been cut off, implore mercy of the god, which he obtained on giving up Annirudha and Usha. 3 Three of the great incarnations of Vishnu, which appeared at critical times to relieve humanity, are fully described in the last section of the Khila Harivansa Parva. Raja Bali, or Maha-bali, sovereign of Maha-balipura, by the power of his austerities obtained the dominion of the three worlds, but, becoming proud, omitted to pay proper respect to the deities. 4 Vishnu determined to humble him, and became incarnate as a vdmana , or dwarf. He asked the King, who was renowned for his charity, to give him as much land as he could cover in three paces. The boon being granted, Vishnu expanded himself to a huge size, and with the first step covered the heavens and with the second the earth. He refrained from taking the third over Patala, or the lower world, on account of the virtues of the King, who was left that region to rule. According to another version Vishnu took the three steps, and was about to take another, when the Raja so pleased him by offering up himself and his wife that the god—Tri-vikrama Vishnu—restored the nether regions to his care. 5 o 1 Plate CXLIV. Artists : Lai and Chatarbhuj. 2 Plate CXLV. Artists : Khem Karan and Basawan. 3 Plate CXLVI. Artist : Tulsi I. 4 CXLVII. Artist : Unknown. Below are seen the materials of Bali’s sacrifice. 5 CXLVIII. This plate is a facsimile of the last page of the Razm Namah. Dr. Rieu has kindly written as follows :—i. The earliest Arzdidah, as far as I can see, is in the right hand corner at the bottom, just over the seal of Muhibb Ali. It is dated 24 Aidibihisht Anno 40 (of Akbar = A. H. 1003). 2. Then conies another written slantingly on the right of it, dated 5 Amardad A. 42, signed Bahadur Chela. 3. The next is at the left hand corner, bottom, dated 5 Ardibihisht A. 43, and signed Khwajah Inayat-ullah. On the opposite corner, and inside the inner margin, is one which must be about the same time. It is dated 5 Amardad Mah Uahi (but without year), and signed Bahadur the Librarian, the same as in No. 2. Just below it is a note of transfer to Inayat-ullah, the same as in No. 3. The other Arzdidah, dated Azar A. 8, 1 Khordad A. 1, 20 Shahvidar A. 7, 21 Di A. 17, may be referred either to Jehangir or Shahjehan. The latest of all is by the seal of Arshad Khan servant of Shah ’Alarm It is dated A. 1 = A. H. 1x19. i. Signification of a few of the names of the leading characters in the Mahdbharata. Terrible, so called on account of his awful vow of celibacy and abandonment of the kingdom. Distributing or Arranging. One who holds firm the kingdom. Steady in battle. Dreadful. White, clear, the colour of day. Upright. Coloured, like the ichneumon. Like a god. Divine. A pillar of wood ; born from the pillar in a sacrifice. Bhishma Vyasa Dhritarashtra Yudhishthira Bhima Arjuna . Nakula . Sahadeva Draupadi Rejoicing; pleasing. A furrow ; born from a furrow. Having ten chariots. Prosperous. Supported. Black; dark blue. Having a copper-coloured banner. Having a goose standard. Having large jaws. The field of the Kurus. Rama Sita. . . . Dasaratha Lakshmana Bharata . Krishna . Tamradwaja . Hansadwaja . Hanumat, Hanuman Kuru-kshetra . 2. The following were the symbols borne on the banners of some of the great chiefs. A standard with a lion on the top. An ape, the deified Hanuman. An elephant. An elephant. A bull. A peacock. Sita. A boar. The moon. A crab. Bhima Arjuna . Duryodhana Kama Kripa Vrishasena Madra Jarasandha Somadatta Pradyumna the Mahdbharata. 3. The following are some of the weapons mentioned in Maces, ploughs, tridents, swords, nooses, darts, arrows which produced fire, water, &c. W m.’T Duryodhana Difficult to be conquered. Duhsasana Intractable. J ' Drishtadyumna Bold and splendid. FM LIST OF AUTHORITIES CONSULTED IN COMPILING VOLUME IV. ‘Le Mahabharata.’ Traduit en frangais par Hippolyte Fauche, Vols. I. to X. (to the end of the £ Kama Parva ’). ‘The History of India from the Earliest Ages.’ By J. Talboys Wheeler. Vol. I. compiled from a MS. translation in the Library of the Asiatic Society of Bengal. Literal translation in manuscript of the bulk of the first fourteen sections of the Mahabharata, with a complete index of the same. (Library of the India Office. Professor H. H. Wilson.) ‘ Indian Epic Poetry, with a full analysis of the Ramayana, and of the leading story of the Mahabharata. ’ By Monier Williams, M.A. Mons. Foucaux’s translations of eleven episodes of the Hitopadesa. ‘ Indian Idylls.’ By Edwin Arnold, C.S.I. &c. (Triibner and Co.) ‘ Proverbial Wisdom from the Hitopadesa.’ By E. Arnold, C.S.I. Muir’s ‘Sanskrit Texts.’ Platt’s ‘Translation of the Gulistan of Shaikh Sa’adi.’ Purchas’ ‘ Pilgrims.’ Journal of Sir T. Roe. Manuscript precis of the translation of the Mahabharata in the British Museum, by the Rev. J. Hindley ; taken chiefly from Halhed’s notes. ‘ Memoirs of the Emperors Baber and Humayun.’ (Translation.) ‘ The Institutes of Timour.’ (Translation.) ‘ The Ain-i-Akbari.’ (Blochmann’s translation and Gladwin’s translation.) The Emperor Shah Jehan, (died 1658 ), and his son and successor Aurangzeb, (died 1707 ). contemporary portrait. Facsimile of * •* -> ' . . : ■ _ / •*, ^ ..../ n v u • ,*;.V * / / v*- 'V^T^ • -/"• j v .IX irtWPprv ~ '. i fSp^ A iHn^P- v jBA 1 ." X/jy' ^**~*&*^J - ■• , iVfp% >//■ ,>V. HflfljfcHBL/i' i^Li/J t DwRtv 1 1 Jk H ARTIST : UNKNOWN. XCVII. Sixth adventure of the white horse, in which he enters the country where the trees produce men and animals for fruit, and the king and people have blanket ears. Vibishana, the king, is advised by his minister to seize,the horse. J y*? v/»» -■* 4 IJf l WTTW- l ? / tf J " J j *> i b f(j '~~'ss 9 V / > i ij m ^tv ' 7 7 < — -<^ A . , “ I ty ; A A/*, *• ‘V • »«• , •* .♦ *'. ^ !>^ /(/j ■> ’/^*' t’h*^/o * -~v 1 ^ r* "&*&>'■*)? ’■&' ''to#'# 'Vyi* - '» V ♦» j *'» .• A naiTPrrn • mini CXVIII. Stoi*y of Bikya and Chandrahasa. The lady finds Chandrahasa. asleep, and alters a letter of her father’s which he is bringing to her brother, so that it reads “Marry the bearer to Bikya” instead of “Poison the bearer.”