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e easy and excusable to go wrong; for from the local colour and the head of the man who leads the horse it would seem to have been painted in India. We know that the album from which it comes was for many years in that country; yet I cannot believe that this picture is the product of any Indo-Persian school. It is too good: there persists too much of the great Timourid and Mongol tradition which, as the work of Sultan Mohamed shows, was still cherished by the Persian artists of the sixteenth century. That it is earlier than the seventeenth century and the reign of Shah Abbas is beyond dispute; it is untainted, or almost untainted, with that soft, slick, convictionless woolliness that was brought to perfection by Riza Abbassi, the court painter, and seems to have flattered so happily the taste of the Persian _grand monarque_. The figure of the kneeling princess comes nearer to the style of Mirek than to that of any other artist with whom I am acquainted; and, if I must hazard a guess, I will suggest that this is the work of some Persian pupil of Mirek who went to try his luck at the court of the Great Mogul. With Shah Abbas and the seventeenth century Persian art becomes definitely and hopelessly second-rate. From the ruins emerge a variety of decadent schools of which two deserve mention. The academic school continued the Behzad tradition, and its hard but capable style did well enough for copying Persian old masters, European paintings by such artists as Bellini, and engravings by such artisans as Marcantonio--an amusing product of this last kind of activity (also from a book in Mr. Ruck's possession) will be reproduced later in the _Burlington Magazine_. At the same time there appeared a freer and softer style, examples of which, at first sight, sometimes remind one of a particularly good Conder. In India developed a number of schools, romantic, picturesque, and literal; of these, a queer sensual charm notwithstanding, it must be confessed that the two main characteristics are weakness of design and a sweetly sugary colour. But I am straying beyond any boundary that my illustrations could justify. I have been able to give excellent examples of the late middle period of Persian painting. In the two first we caught an echo of the great Timourid age and felt a premonition of the good Sefevaean: in the last we see how splendid Persian painting could be in its decline. I wish I could have reproduced examples to show how g
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