THE RENAISSANCE IN INDIA
and its forms are the very rhythm of its intuition, they have little to do with the metric formalities devised by the ob-serving intellect ; it leans over the finite to discover its suggestions of the infinite and inexpressible ; it turns to outward life and nature to found upon it lines and colours, rhythms and embodiments which will be significant of the other life and other nature than the physical which all that is merely outward conceals. This is the eternal motive of In dian art, but applied in a new way less largely ideaed, mytho-logical and symbolical, but with a more delicately suggestive attempt at a near, subtle, direct embodiment. This art is a true new creation, and we may expect that tue artistic mind of the rest of India will follow through the gate thus opened, but we may expect it too to take on there other characteristics and find other ways of expression ; for the peculiar turn and tone given by the Calcutta painters is intimate to the temperament of Bengal. But
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