Such paintings were, at first sight, easy to appreciate. Although they alternated between two methods of expression--the first a style of savage distortion, the second a style of the softest grace--each manner enlivened the common subject.[1] Yet in two respects elucidation was vitally necessary. Just as in Japan, the lover might express his longings by cryptic references to Nature, the Indian artist employed poetic symbols to charge his subjects with romantic ardour. Flowers were never merely flowers nor clouds clouds. The symbols of Indian poetry--the lotus swaying in a stream, the flowering creeper embracing a trunk--were intended to suggest passion-haunted ladies. The mingling of clouds, rain and lightning symbolized the embraces of lovers, and commonplace objects such as dishes, vases, ewers and lamps were brought into subtle conjunction to hint at 'the right true end of love.' What, in fact, might seem at first sight to be a simple portrait, proved on closer understanding to be a study in despair, a revelation of delight or a clue to rapture, each image with its sexual implications contriving to express some nuance of longing. In these pictures, only a part of the meaning was apparent and without a comprehension of the poetry, much of its true significance was lost. Such an obstacle to understanding was real enough but, as the eye ranged over this new kind of love-painting, a second difficulty appeared. In many pictures, the lover had special characteristics. He was shown with a crown of peacock's feathers, clad in a golden _dhoti_ and in every case his skin was mauve or slate-blue.[2] In certain cases, the lady of his choice appeared bowing at his feet, her pose suggesting the deepest adoration; yet, in other pictures, his role was quite different. He was then a resolute warrior, fighting and destroying demons. It was clear, in fact, that here was no ordinary lover but one who might also be a god. At the same time, other perplexing circumstances were present. The lover's appearance was that of an aristocratic youth and the ladies whom he loved had the bearing of elegant princesses. Yet often the scene of their encounters was a forest thick with flowering trees. His companions were cowherds and the objects of his love were not the ladies of a court but cowgirls. Other activities betrayed the same lowly sphere. In certain pictures, he was shown eating with cowherds, sharing in their sports, grazing the cattle and himself milking cows. That such a lover should dominate the paintings was perplexing in the extreme and just as cultured Indians would be baffled by Italian and Flemish painting unless they already knew the life of Christ, it was clear that part, even the majority, of these pictures would remain obscure unless the character of their central figure was first explained. One further point remained. In many cases, the pictures were not intended to be viewed in isolation but were illustrations of a text.