Native jewellery is also being influenced for the worse by the infusion of Western ideas. The Indian workers in gold and silver are apt now to imitate the design of the cheap jewellery imported from Europe, and they are not aware that their own traditional designs are really much the most beautiful. Many of the chains and necklaces and bracelets worn by villagers, both male and female, are the best examples of unadulterated Indian art, because modern ideas and shapes have not yet reached them; or, if they see some of these new devices when they come to give their order to the goldsmith in the city, they are still conservative enough to prefer the designs of their forefathers. There are quaint and ingenious devices for fastening the necklaces, and part of the charm of the primitive handiwork is its individual character, shown in a certain roughness and want of rigid symmetry. In the houses of the more old-fashioned wealthy Hindus, in their big reception-room, only rarely used, may be seen curious examples of the mistakes which may be made so easily when introducing objects of art from another country without adequate knowledge. Pictures from England, interspersed with mirrors, form the chief decoration on the walls of many of these saloons. They are hung almost touching each other, very high up, like the "sky-ed" line of the Royal Academy, but with nothing on the walls below, and they often present a most curious jumble: a few good engravings; gaudy pictures, first issued as advertisements; portraits of persons, known and unknown; worthless prints in gorgeous frames; and a picture with some merit, stuck all awry in a frame which does not belong to it. In the houses of a younger generation you will see large oil paintings by modern Indian artists, in heavy gilt frames and properly hung, although still rather higher than is usual with us. Some are family portraits; some are scenes from the histories of the gods. The colours used are exceedingly brilliant, and the picture itself is often painted on a very bright background. The drawing, which used to be the defective part of Indian pictures, is much improving now that drawing has become a regular part of the education of the Indian boy. It is rather difficult to judge of the artistic value of a picture painted in a style so unlike Western models. But on the whole one is led to think that the brilliant colours are suited to the country, and that they are blended with astonishing taste, considering the extreme difficulty of blending happily hues of such a pronounced character. If only the study of Western examples helps to purify the Indian style without destroying its individuality, one would hope that Indian artists will eventually produce pictures which will have a great charm of their own.