Indian Painting under the Mughals, A.D. 1550 to A.D. 1750 c18.16

c18.16

Owing to their similarity in many respects, the Jaipur *Razmnāma* and the Bankipur *Tīmurnāma* form themselves into another group, placed second in the list as both were no doubt executed at a date subsequent to the two manuscripts just described, probably about 1580. The *Razmnāma* is an illustrated adaptation of the Hindu epic the *Mahabharata*, and, as its story contained much that was foreign to the Muhammadans, the pictorial part is, with few exceptions, the work of Hindu artists. Akbar showed an active interest in the ancient Sanskrit literature of India, which was manifested in his demand for the preparation of Persian translations of several Hindu classics, among these being, as Abu’l Fazl states, the *Razmnāma* and the *Ramayana*. Several copies of both works with illustrations appear to have been produced at this time, as Akbar in his zeal required some of his nobles to order them for their own use. He also kept the Roman world, and the most important events of the reign of Antoninus Pius, are related by his biographer, and the reader will not be sorry to find them here in a more concise form. The reign of Antoninus Pius is marked by the rare advantage of furnishing very few materials for history; which is only another mode of saying that its happiness was complete. During the twenty-three years of his administration, the Roman empire was governed by the same invariable maxims of justice and peace. The natives of a vast extent of country were protected by the same laws, and enjoyed the same privileges. The frontiers were defended by the same legions, and the same spirit of moderation and equity prevailed in the councils of the emperor. The death of Antoninus was lamented as a public calamity; and the memory of his virtues was preserved by the gratitude of his subjects, and the imitation of his successor.