215 
Singaperoomaul Raj, Madras. 
Miniature painting on ivory representing “ Col. 
Lawrence with Mahomed Ally, Nawab of the 
Carnatic.” 
Collection of paintings on ivory. Adapted for setting 
as bracelets. 
Series of paintings on ivory. Adapted for setting as 
buttons or studs. 
Water-colour sketches (6) of natives. 
Bombay Committee. 
A series of paintings (5) illustrating various manu- 
facturing processes, as distilling, weaving, cotton 
cleaning, &c. From Kutch. 
Bengal Committee. 
Paintings on mica (2), representing the “Taziya ” or 
“Mohurrum.” From Patna. 
Generally but erroneously described as paint 
ings on talc. The “ Taziya ” is the representation 
of the tomb of Hasan and Hussain which is 
carried in procession at the Muharram festival. 
Two rüde tempera paintings on cloth, representing 
an old temple in Bishenpur, called “Jorbangla.” 
From the Bancoorah district. 
Illuminated Manuscripts (2) of the Mahäbhärata, 
the great epic of Krishnadvaipayana Vyasa. 
These two manuscripts contain the complete 
Mahabharata except the last book, which is 
styled the Svargarohana parva, or the book 
treating of the ascent to Paradise of the Panda 
vas. The MS. No. 21 has the following books :— 
(1), the Sailya parva; (2), the Gada parva; (3), 
the Mansala parva; (4), the Sauptika parva; 
(5), the Stri parva; (6), the Asvamedhika parva; 
(7), the Asramavasika parva; and (8), the Ishika 
parva. The MS. No. 22 contains : (1), theAdi 
parva; (2), the Sabha parva; (3), the Aranya 
parva; (4), the Udyoga parva ; (5), the Bishma 
parva; (6), the Drona parva; and (7), the Kurna 
parva. The manuscripts are beautifully illumi- 
nated in the peculiar Hindu style, and as the 
flgures represented are from the Hindu pantheon, 
they add to the sanctity of the productions. The 
paintings to No. 22 represent the ten avatars of 
Vishnu; viz. (1), the Matsya or the fish; (2), 
the Kachehhua or the tortoise; (3), the Varaha 
or the boar; (4), the Narsinha or the man-lion ; 
(5), the Yamana or the dwarf; (6), the Parasu- 
rama; (7), the Rama; (8), the Valarama; (9), 
the Bauddah; (10), the Kalki. The writing 
has been executed in the minutest form possible, 
but the letters are so carefully formed that they 
are all distinct and legible. Such manuscripts 
are never used in reading, but are placed upon 
an altar, and are worshipped as sacred things. 
The Devimahatmya of the Markandeya Puräna, 
the Srimatbhägavata and the Bhagavatgitä are 
very often squeezed into small paper packets 
and rolled up into little gold tubes to be worn as 
charms, &c. The accuracy of these two manu 
scripts is particularly noticeable. 
Hossain Ali Khan, of Delhi and Calcutta. 
Paintings on ivory (by the exhibitor). 12 mounts, 
bearing in all 49 paintings, as follows :— 
The great Jumma Mosque at Delhi. 
The Tajmehal at Agra, garden side. 
Mahommed’s Tomb at Medina. 
The Temple at Umritsar. 
The Fortifications at Delhi. 
One plate 0x4 in. panelled into nine compart- 
ments, containing views of buildings, streets, 
&c., at Lucknow. 
River side view of the Taj, Agra. 
One mount bearing three separate plates repre 
senting the following;— 
a. Jumma Musjid, Delhi. 
b. Nadir Shah’s Tomb, Delhi. 
c. King’s Palace, Delhi. 
One mount bearing three separate plates repre 
senting the following:— 
a. Taj Mehal, Agra. 
b. The Kootub. 
c. Jumma Musjid. 
One plate panelled into nine compartments 
containing the following views :— 
a. The Kutub. 
b. Tomb of Sullim Shah. 
c. The Jumma Musjid, Delhi. 
d. King’s Palace at Delhi. 
e. Cawnpore Well. 
/. Temple of Ahmed Solur. 
g. Fortifications of Agra. 
h. Vjew in Agra. 
i. View of Jerusalem. 
One mount bearing four separate plates repre 
senting the following:— 
a. The Right Akbar of Delhi. 
b. The Temple of Amritsar. 
c. View of Jerusalem. 
d. View on the Bombay Railway. 
One mount bearing fifteen separate plates repre 
senting the following;— 
a. The Taj at Agra. 
b. Temple at Amritsar. 
c. Moti Musjid. 
d. Sajdar Jung’s Tomb. 
e. King’s Palace, Delhi, 
/. Jumma Musjid, Delhi. 
g. Moti Musjid. 
h. Temple at Amritsar. 
i. The Kutub. 
k. Taj at Agra, 
l. King’s Palace, Delhi. 
m. n. o. p. Four minute medallions for studs. 
Baboo Sridhur Sahi, Zemindar of Maujha, Sarun 
district. 
Native paintings (4), in tempera, on paper, as 
follows :— 
Musician playing before a Mahomedan Nawab. 
Hunting scenes (2). 
Curious group of flgures. 
This is an example of a very favourite caprice 
of Hindu painters, namely, the forming of the 
figure of an animal such as an elephant, a horse, 
a camel, a peacock, or the like (or even a vehicle, 
as a palki with bearers) out of a number of other 
animals, or out of human flgures, ingeniously 
grouped and twisted to fit into and define 
the main outline. Among the Vaishnavas the 
elements used in this building up are generally 
nine female flgures representing the nine 
favourite Gopinis forming an elephant or a 
horse for Sri Krishna to ride upon. When the 
group forms an elephant the name “ Navanari- 
kunjara ” (the nine-woman-elephant) is given to 
the picture. The horse is called “ Navanaritu- 
ranga ” (the nine-woman-horse).