Hindu Satí
The Looking-Glass and Flowers: Bernard writes of the widow’s dress: “They are decked in all the grandeur of a new-married bride, and crowned with flowers; their hair flows in a loose and careless air all over their shoulders and is adorned with jewels.” He also notes that they hold “a looking-glass in their left hand, and an arrow in their right.” In a fascinating shift from Bernard’s words, Picart chooses to depict the widow at the sati holding flowers rather than an arrow. It is unclear why he made this decision, but it seems to remove any masculine war imagery from the “beautiful bride” image created by the widow.
The Spectators: Dozens of people arrive to witness both types of sati illustrated by Picart. Bernard writes of “crowds that let [the widow] pass” and of “joyful spectators” who “dance and sing” with the widow. Their nearest relation is the person who actually takes them “by the hand” to the funeral pyre or burial site. Then, “some female friend or servant appointed for that purpose pours a whole pot-ful of oil upon the victim’s body.” Finally she throws herself into the fire, or is buried alive. Picart also includes a large mat, to “spread upon the brink of the Eminence, to conceal from their sight the horror of the flames.” “Eminence” signifies brahmins or other types of Indian religious leaders. Again, Picart makes a shift here. In his illustration, the mat is lifted, either by human hands or the wind, so even the most pious can see the horrific events about to unfold.