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is the term that seems to have been monopolized by the artists who claim Cêzanne as their inspirer. And yet in this modernism Old India's paintings and sculptures have been a stimulating force.

The plastic art-creations at Bharhut and the frescoes at Ajanta constitute in stone and color, as we have indicated, the poetry of the whole gamut of human emotions from "the ape and tiger" to the "god-in-man." The encyclopædic humanism of Hindu art is indeed comparable only to the compre-