"Its head was encircled by bright red rays, something like the rays which one sees proceeding from the sun when depicted on the signboard of a public house. Inside of this came a broad stripe of very brilliant red, which was coped by lines of white; both inside and outside of this red space were narrow stripes of a still deeper red, intended probably to mark its boundaries. The face was painted vividly white and the eyes black, being, however, surrounded by red and yellow lines. The body, head, and arms were outlined red, the body being curiously painted with red stripes and bars.
"Upon the rock which formed the left hand wall of this cave, and which partly faced you on entering, was a very singular painting (2), vividly coloured, representing four heads joined together. From the mild expression of the countenances, I imagined them to represent females, and they appeared to be drawn in such a manner and in such a position as to look up at the principal figure which I have before described. Each had a very remarkable head-dress, coloured with a deep, bright blue, and one had a necklace on. Both of the lower figures had a sort of dress, painted with red, in the same manner as that of the principal figure, and one of them had a band round the waist. Each of the four faces was marked by a totally distinct expression of countenance, and although none of them had mouths, two, I thought, were otherwise rather good-looking. The whole painting was executed on a white ground, and its dimensions were:—
"Total length of painting 3 ft. 6¾ in.
"Breadth across two upper heads 2 ft. 6 in.
"Breadth across two lower heads 3 ft. 1½ in.
These remarkable paintings attracted Grey's attention, and led him wondering as to their origin. The solution to that problem he has however left to others. (Fig 1, see Appendix.)
According to him, the first two frescoes—i.e., those situated on the roof of the cave, representing the principal figure, and that representing the four persons (probably women), are one subject. A glance at their position, and the expression of their faces, leads one to accept Grey's opinion as not only admissible, but as the only accurate one. The group of women is placed in an attitude of prayer, or of submission towards the central figure, also representing a woman, as all except the head-dress, which is a little different, exactly resemble the others; it is also evident that the artist wished to represent a religious subject.
It is necessary to remark that the people among which these drawings have been found belong to an almost savage race, and in admitting that they may be the work of a superior race that once inhabited these parts (which, by the way, is the opinion of Sir George Grey), yet this superior race could hardly be any other but some Malay tribe. Among these latter, as well as among all savage, or semi-savage people, woman is considered as a being of an inferior order, more fit to become a slave than to be worshipped, and as the Malays had either adopted for centuries past, either one of two creeds, that of Buddhism from the Hindoos, or that of Mahomet from the Arabs, we look in vain, save in the former, and that in only one or two well-known instances, which cannot for a moment be entertained here, for the worship of a woman. The Malay religious artistic subjects that we know of are of an order far above that of which we have a sample here, and there is no resemblance at all in their paintings with anything depicted in these caves.
There are several points of importance with regard to these pictures, to which we beg to direct the reader's attention. In the first place, the perfect oval shape of the head; secondly, the colour of the face, which is painted VIVIDLY WHITE, evidently for some purpose; and thirdly, the fact that the kind of dress worn over the bodies exactly resembles that described by De Gonneville as worn by the women of the Southern Indies, made of some kind of matted material, sometimes also of skins, or of feathers, girt above the haunches and reaching to the knee. (Fig. 2, see Appendix.)
Compare, also, the date assigned by Grey to these pictures-two or three centuries, and this coincidence will appear still more remarkable.
But to return to the subject. It is difficult, if not impossible to credit the natives at the time of Grey's visit as being the authors of these paintings. The eminent traveller absolutely discredits such a possibility, and attributes them to a far distant epoch, and a totally different race. The perfect oval shape of the faces was not drawn so without a purpose, and neither were they painted so vividly white, if the artist had not desired to pourtray types of a race certainly not existing at present on the the Australian continent. It is difficult to admit that it might be of Malay origin, as tile head-dress, or to describe it more perfectly, the AUREOLA surrounding the head, is met with in Buddhist paintings or sculptures only as surrounding the head of gods, who can always be recognised by their peculiar and constant characteristics, and nowhere are these AUREOLAS surrounded with the rays in the shape of "FLAMÈCHES," which confront us in the drawing of the principal figure. (Fig. 3, see Appendix.) It resembles, indeed, much better Grey's own description:—
"Its head was encircled by bright red rays, something like the rays which one sees proceeding from the sun, when depicted on the sign board of a public house."