A History of Fine Art in India and Ceylon, from the Earliest Times to the Present Day c14.s2.69

c14.s2.69

'A lady of rank sits on a couch leaning her left arm on the pillow, and an attendant behind holds her up. A girl in the background places her hand on her breast and looks towards the lady. Another with a sash across her breast wields the *pankhā* [fan], and an old man in a white cap looks in at the door, while another sits beside a pillar. In the foreground sit two women. In another apartment are two figures; one with a Persian cap has a water-vessel (*kalaśa*) and a cup in the mouth of it; the other, with negro-like hair, wants something from him. To the right two *kanchukinīs* [female servants] sit in a separate compartment. . . . For pathos and sentiment and the unmistakable way of telling its story this picture, I consider, cannot be surpassed in the history of art. The Florentine could have put better drawing, and the Venetian better colour, but neither could have thrown greater expression into it. The dying woman, with drooping head, half-closed eyes, and languid limbs, reclines on a bed, the like of which may be found in any native house of the present day. She is tenderly supported by a female attendant; whilst another with eager gaze is looking into her face, and holding the sick woman's arm as if in the act of feeling her pulse. The expression on her face is one of deep anxiety as she seems to realize how soon life will be extinct in the one she loves. Another female behind is in attendance with a *pankhā*, whilst two men on the left are looking on with the expression of profound grief depicted in their faces. Below are seated on the floor other relations, who appear to have given up all hope and to have begun