Such pictures stress a comparatively unimportant side of Krishna’s character and it is rather in the paintings of George Keyt that Krishna the lover is proudly portrayed.  Born in Ceylon of mixed ancestry, Keyt has, for many years, been acutely responsive to Indian poetry.  In 1947, he published the translation of the Gita Govinda, excerpts from which have been quoted in the text, and throughout his career his work has been distinguished by a poet’s delight in feminine form and sensuous rapture.  To Keyt such a delight is a vital component of adult minds and in the romance of Radha and Krishna he found a subject subtly expressive of his own most intimate beliefs.  His paintings and line-drawings of Radha, Krishna and the cowgirls—­at once modern yet vitally Indian in spirit—­have the same qualities as those in the Gita Govinda.[128] Radha and Krishna are shown luxuriating in each other’s elegance, a certain ineffable tenderness characterizing their gestures and movements.  Their love is gentle rather than brusque, an air of glamorous wonder broods above them and we meet once more that blend of romantic sensuality and loving innocence which is perhaps the chief Indian contribution to cultured living.  It is this quality which gives to Indian paintings of Krishna and his loves their incomparable fervour, and makes them enduring expressions of Indian religion.

[Footnote 66:  Plates 3, 5, 6, 8, 9, 11, 13-17, 21 and 36.]

[Footnote 67:  M.R.  Mazumdar, ‘The Gujarati School of Painting,’ Journal of the Indian Society of Oriental Art, 1942, Vol.  X, plates 3 and 4.]

[Footnote 68:  Collection Maharaja of Jaipur, Pothikhana, Jaipur.]

[Footnote 69:  Collection Maharaja of Jodhpur, Pustakaprakash, Jodhpur Fort.]

[Footnote 70:  Plate 22.  Collection N.C.  Mehta, Bombay.  For reproductions of 2 and 3, see Karl Khandalavala, ‘Leaves from Rajasthan,’ Marg, Vol.  IV, No. 3.  Figs. 8 and 10.]

[Footnote 71:  Moti Chandra, Jain Miniature Paintings from Western India (Ahmedabad, 1949), Figs. 99-105.]

[Footnote 72:  Khandalavala, op. cit., Fig. 14; The Art of India and Pakistan, Pls. 81 and 82.]

[Footnote 73:  Plates 23 and 24.]

[Footnote 74:  For reproductions, see E. Wellesz, Akbar’s Religious Thought reflected in Mogul Painting (London, 1952), Pls. 1-37.]

[Footnote 75:  Reproduced Hendley, Memorials, The Razm Namah; see also Plates 1 and 2 below.]

[Footnote 76:  The Art of India and Pakistan, Plate 88.]

[Footnote 77:  H. Goetz, The Art and Architecture of Bikaner State (Oxford, 1950), Fig. 91.]

[Footnote 78:  Coomaraswamy, Boston Catalogue, VI, Mughal Painting, Plates 8-19.]

[Footnote 79:  Goetz, op. cit., Figs. 78 and 93.]

[Footnote 80:  Plate 29.  See also B. Gray, Treasures of Indian Miniatures from the Bikaner Palace Collection (Oxford, 1951), Plate 6.]