were true to life so far as the artist could make them. They are well executed, in the usual style.
"No. 12, Shivaji. — Three-quarter length, looking to right, — same face as in Orme's Fragments. Black beard and moustache — long hair at sides — gold pagri — jewelled aigretts — black plume — white jigah (pearls?) — flowered coat with white ground — purple silk scarf thrown across shoulder — worked sash — peshqabz (dagger) sticking out from waist on left side — right hand hidden in hilt of a pattah or rapier — left hand holding a dhup or straight sword." (Note supplied to me by Mr. W. Irvine, 10th March, 1904.)
The portrait of Shivaji given in Constable's edition of Bemier's Travels (p. 187) follows an engraving in F. Valentyn's Oud-en Nieuw Oost-Indien (1724-26), the pictures in which were most probably acquired by the Dutch E. I. Co.'s mission to the Mughal Court in 1712.
The Italian traveller Manucci in 1706 presented to the Venetian Senate a volume of 56 portraits drawn for him by Mir Muhammad, an artist in the household of Shah Alam, before 1686. This volume (now at Paris) contains a portrait of Shivaji (No. 39 in Blochet's list), which Mr. Irvine has reproduced by photography in his edition of the Storia do Mogor, Vol. HI., picture No. XXXV. Earlier and less faithful woodcuts of it are to be found in Langles' Monuments Anciens et Modernes (Paris 1821) and De Jacigny and Raymond's Inde (Paris, 1845.)
