A History of Fine Art in India and Ceylon, from the Earliest Times to the Present Day c19.s4.5

c19.s4.5

'It would be difficult,' Fergusson observes, 'to excel the skill with which the vegetable forms are conventionalized just to the extent required for the purpose. The equal spacing also of the subject by the three ordinary trees and four palms takes it out of the category of direct imitation of nature, and renders it sufficiently structural for its situation; but perhaps the greatest skill is shown in the even manner in which the pattern is spread over the whole surface. There are some exquisite specimens of tracery in precious marbles at Agra and Delhi, but none quite equal to this.'²