Ruins of Desert Cathay : vol.1 / Page 728 (Color Image)

0728	Ruins of Desert Cathay : vol.1

474 THE FRESCOES OF MIRAN CH. XLII

From the first they held my archaeologist's eyes spell-

bound as it were, and now when I can see them under 0

less trying conditions and in safety, this fascination has 01

in no way diminished. As already related, all the seven ii

panels recovered from the dado travelled remarkably well,

considering the distances and risks overcome. It has 1
thus been possible to reproduce here the two seen in the

colour plate (P1. iv.) exactly as they reached the British il

Museum, and before the friable clay and straw at the back 'b

was replaced by plaster of Paris. Since this was effected, 41

the cracks suffered by the painted surface, partly when 0

still on the wall, have closed up almost completely. The

two selected panels, which originally adjoined in the ii

middle of the south-eastern segment of the temple wall it

along the line marked A B, characteristically illustrate the sl

variety of expression introduced by the painter into this ;6

cycle of Cherub-like figures. While in all externals, such il

as the type of head, the wings, and the simple but 1

effective dress, the aim manifestly is at a homogeneous

effect befitting a heavenly fraternity, nevertheless a strong ji

individual element prevails in the faces. di

The skill with which this is obtained will be best :1'
realized by a close examination of the two neighbouring

panels seen in the plate. The upper one shows us TZ

against a greenish-blue background, probably meant to

indicate the sky, the head and shoulders of a youthful i!

figure manifestly rising upwards. The delicately round d

contours of the face, the large and wide-open eyes, the ii

three-quarters turn of the head, the aquiline nose, and a t`

number of other features, are also exhibited in the panel

below and in others. Yet a glance suffices to distinguish the t

peculiar firmness of the mouth marked by the straight line il

dividing the curving red lips, and the steady, eager gaze

which is emphasized by the pronounced upward tilt of the t

head. The rippling black love-lock hanging in front of the à

slightly elongated right ear helps to reduce the fulness of $

the face and to give it a slightly more serious look. With this the bold painting of the outlines and the plain band of

drapery in rich red accord remarkably well. A curious feature, common to all these figures of the dado, is the

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