There is evidently here some strange mixture of European and Malay art, the former exhibited in the remarkable AUREOLAS which so commonly surround the heads of saints in the old images, in painted church windows of the middle ages, and the times of De Gonneville, and the latter in the kind of dress over the body, which appears to be meant to represent some sort of matted stuff. This painting is not the work of a native artist; it is unlikely that it could be the work of Malays, in the third place there is in its position and its peculiar appearance such a striking touch of an European conception, mingled with barbaric surroundings, that one is almost inclined to the belief that we are here in the presence of a subject of religious, nay, a Christian order.
This deduction may need additional evidence, and if the reader will kindly follow with us Lieutenant Grey's steps, he will be placed in the presence of a still more remarkable painting, which we shall presently describe.
"The cave was twenty feet deep, and at the entrance seven feet high and about forty feet wide. As before stated the floor gradually approached the roof in the direction of the bottom of the cavern, and its width also contracted so that at the extremity it was not broader than the slab of rock which formed a natural seat. The principal painting in it was the painting of a man ten feet six inches in length, clothed from the chin downwards in a red garment which reached to the wrists and ankles; beyond this red dress the feet and hands protruded, and were badly executed.
"The face and head of the figure were enveloped in a succession of circular bandages, or rollers, or what appeared to be painted to represent such. These were coloured red, yellow, and white, and the eyes were the only features represented on the face. Upon the highest bandage, or roller, a series of lines were painted in red, but although so irregularly done as to indicate that they have some meaning, it is impossible to tell whether they were intended to depict written characters or some ornament for the head. This figure was so drawn on the roof that its feet were just in front of the natural seat, whilst its head and face looked directly down on anyone who stood in the entrance of the cave, but it was totally invisible from the outside. The painting was more injured by the damp and atmosphere, and had the appearance of being much more defaced and ancient than any of the others which we have seen. There were two other paintings, one on each side of the rocks, which stood on either side of the natural seat: they were carefully executed, and yet had no apparent design in them, unless they were intended to represent some fabulous species of turtle; for the natives of Australia are generally fond of narrating tales of fabulous and extraordinary animals, such as gigantic snakes, etc." (Fig. 4, see Appendix.)
With this drawing, as well as in the others, it is evident that native talent had nothing to do. Neither had, in all probability, the Malays, as the form of the dress and its colour are incompatible with anything we know of these people. Then again the same AUREOLA surrounds the head of the figure, and we are inclined to think that this drawing is due to the same artist who painted those already described. Although Grey believes that it is a more ancient production, the face of it having suffered more than the other is in all probability due to it being more exposed to atmospheric, or other influences, rather than to its greater antiquity. There are, however, some very interesting points to examine in this drawing, and in the first place our attention is drawn to the curious signs inscribed on the AUREOLA surrounding the head.
At first sight, an illiterate person would at once exclaim, "these are
Latin characters."
G I T I L F
Five out of six undoubtedly are such, and the sixth appears to be part of an unfinished or defaced letter, probably F or E. This is evidently very remarkable, and more so is the fact which a closer examination discloses that near the right shoulder of the figure two additional characters, C D, also undoubtedly of Latin form, are there inscribed, proving the European origin of this drawing, which resembles exactly those paintings of the middle ages, representing some holy monk or nun in their habilaments, of a coarse, brown cloth, the hands, and still more so the feet in that, position which painters of religious subjects have rendered us so familiar with on the old church windows, and other paintings of those times. The practice of printing the name of the saint on the AUREOLA encircling the head is also a common one, and perhaps we may find there an explanation of that painting, which will also prove the others to be of like origin. These characters are, undoubtedly, Latin, whichever way one might like to turn them, and their appearance in such a spot is not due to chance alone. It would be a difficult task to attempt to explain their meaning, but, perhaps, a further exploration of these singular caves may bring to light information leading to their identification and explanation. Suffice it to say that they certainly tend to show the European and Christian character of these paintings, the first one probably representing the holy women praying before the Virgin, and the other some holy nun, as the line over the chin seems to indicate the well-known head-dress. It may be objected that the Virgin could hardly have been pourtrayed in such a costume, to which the answer may be made, that it was a common custom at the time, among the disciples of Francis Xavier who evangelised India, to represent the Virgin and the saints in the costume of the country, in order to bring them in an easier way to the conception of the native mind, a practice, need it be added, which brought on the head of the Jesuits the most severe condemnation.
If such is the case, and if these paintings are, as we believe, the work of Europeans, we might look in their vicinity for some other and still more convincing proof of their origin.
Such is afforded also, and the evidence is telling.