s a night passionately dallying with
another cowgirl and only in the morning tenders his submission. By this
time, Radha's mood has turned to bitter anger and although Krishna begs to
be forgiven, Radha tells him to return to his latest love.

'Go, Krishna, go. Desist from uttering these deceitful words.
Follow her, you lotus-eyed, she who can dispel your trouble, go to her.'

In the picture, Krishna is striving to calm her ruffled feelings while
Radha, 'cruel to one who loves you, unbending to one who bows, angry with
one who desires, averting your face from this your lover,' has none of
him.

According to the poem, the scene of this tense encounter is not a palace
terrace but the forest--the Garhwal artist deeming a courtly setting more
appropriate for Radha's exquisite physique. The suavely curving linear
rhythm, characteristic of Garhwal painting at its best, is once again the
means by which a mood of still adoration is sensitively conveyed.

[Illustration]

PLATE 26

_The last Tryst_

Illustration to the _Gita Govinda_
Basohli. Punjab Hills, c. 1730
State Museum, Lahore

Having brusquely dismissed Krishna, Radha is overcome with longing and
when he once again approaches her she showers on him her adoring love. The
friend urges her to delay no longer.

'Your friends are all aware that you are ready for love's conflict
Go, your belt aloud with bells, shameless, amorous, to the meeting.'

Radha succumbs to her advice and slowly approaches Krishna's forest bower.

In the picture, Krishna is impatiently awaiting her while Radha, urged
onward by the friend, pauses for a moment to shed her shyness. The picture
is part of an illustrated edition of the poem executed in Basohli in 1730
for a local princess, the lady Manaku. As in other Basohli paintings,
trees are shown as small and summary symbols, the horizon is a streak of
clouds and there is a deliberate shrinkage from physical refinement. The
purpose of the picture is rather to express with the maximum of power the
savagery of passion and the stark nature of lovers' encounters.

[Illustration]

PLATE 27

_The closing Scene_

Illustration to the _Gita Govinda_
Basohli, Punjab Hills. c. 1730
Art Gallery, Chandigarh, East Punjab

From the same series as Plate 26.

After agonies of 'love unsatisfied,' Radha and Krishna are at last
reconciled.

'She looked on Krishna who desired only her, on him who for long wanted
dalliance,
Wh