We briefed this as a classical Kalighat devotional rather than a satire — between their caricatures the 19th-century patuas painted the gods of Bengal with the same economical brush, and Radha and Krishna were among their tenderest subjects. The whole composition is held together by the long flower garland strung between the two figures: Krishna at the left, blue-skinned with a peacock-feather crown and flute tucked at his side, a chrome-yellow dhoti and brick-red shawl; Radha at the right in a yellow saree with a red veil drawn over her hair and pearls at her throat. We composed them as a facing-pair so the garland forms the gentle bridge at the centre, and honoured their true attributes — Krishna's indigo skin and peacock crown, Radha's veil and downcast glance — because a devotional figure has to be correct before it can be beautiful. The palette stays to the patua's bright economy: indigo, chrome yellow, brick red and pearl white over a quiet cream ground, with no throne, no grove, no clutter behind them.