It is in a series of illustrations to certain texts, however, that Kangra painting reaches its greatest heights. Among the many artists employed by Sansar Chand, a certain Purkhu was notable for his 'remarkable clearness of tone and delicacy of handling,'[115] and though none of his pictures are signed it is these qualities which characterize one of the two most famous sets of illustrations executed in Kangra. The subject was the tenth book of the _Bhagavata Purana_ and the scenes illustrated ranged from Krishna's birth and adventures with demons to his frolics with the cowgirls and final slaughter of Kansa. Purkhu's style--if Purkhu is indeed the master responsible--is remarkable for its luminous clarity, its faint suggestions of modelling, and above all for its natural use of rhythm. In every scene,[116] cowherds appear engaged in different tasks, yet throughout there is a sense of oneness with Krishna himself. Krishna is shown delighting all by his simple friendliness and dignified charm and the style itself endows each scene with gentle harmony. Purkhu was clearly one of the greatest artists ever to practise in the Punjab Hills, but it is a certain Kushala who is supposed to have been Sansar Chand's special favourite. We do not know which pictures are by his hand but there exist two series of illustrations of such distinctive quality that Kushala may well have been responsible.[117] One is a series of paintings illustrating part of Bihari's _Sat Sai_--the seven-hundred poems in which he extolled Krishna's love-making.[118] The other is yet another version of the _Gita Govinda_ where Krishna is shown consorting with the cowgirls in blissful abandon.[119] In both these series, the inherent loveliness of Radha and the cowgirls is expressed by supple flowing line, a flair for natural posture and the inclusion of poetic images. The scarlet of a cowgirl's skirt is echoed by the redness of a gathering storm, the insertion of Krishna into the background suggesting the passionate nature of their imminent embraces.[120] In a similar way, the forest itself is 'threaded with phases of passion' and slender trees in flower parallel the slim romantic girls who long for Krishna's love. One other Kangra master remains to be mentioned. Besides the pictures already noted, there exists a further series illustrating the tenth book of the _Bhagavata Purana_. The artist's identity is once again uncertain, but just as the Garhwal master was fascinated by the swirl of curling water, the Kangra artist in question delighted in the blonde pallor of the Indian moon.[121] Each incident in the text is rendered as if in moonlight--a full moon riding in the sky, its pale reflection shining in water, the countryside itself bathed throughout in frosty whiteness. As a result the figures of Radha and the cowgirls seem imbued with pallid glamour, their love for Krishna with an almost unearthly radiance.