In this preparatory watercolour we see the artistic mind of Abanindranath Tagore working to achieve a harmonious composition. There are several differences between this and the finished painting, primarily seen in the faces of the figures, their dress, and small compositional tweaks such as the closest figure’s arm and leg positioning, the foreshortening effect perhaps drawing the eye into the work, as opposed to creating a barrier as in the study. It is arguable that the head of the female figure in the centre of the furthest row is more intricately painted in the study than in the final painting.