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. Many were inscribed with Sanskrit or Hindi
verses and in each case there was an intimate connection between the
content of the picture and the poem's subject. To understand the pictures,
therefore, some acquaintance with these texts was necessary for only in
this way could the identity and role of the blue-skinned lover be
appreciated. He was, in fact, Krishna--an incarnation of God--and in his
worship some of the deepest requirements of the Indian spirit found
ecstatic release.

The purpose of this book is to throw some light on Indian painting by
presenting the story of Krishna in the clearest possible terms. It might
be supposed that, of all Indian gods, Krishna was already the one best
known to the West and therefore, perhaps, the one least requiring
explanation. Among modern poets, Sacheverell Sitwell devotes a whole poem
in _Canons of Giant Art_ to describing Krishna's effect.

Rain falls and ceases, all the forest trembles:
Mystery walks the woods once more,
We hear a flute.
It moves on earth, it is the god who plays
With the flute to his lips and music in his breath:
The god is Krishna in his lovely youth.

Louis MacNeice in _Ten Burnt Offerings_ describes a much-loved cat,

Fluid as Krishna chasing the milkmaids.

And the same Krishna, flute player and lover of milkmaids, is familiar to