One observation of this etching is that it appears that the musician is wearing around his right ear, a small pushpa mala, which is a flower garland, and holding a khol, or a mridanga drum.



This would most likely have been an offering to a small murti of Krishna and is worn as prasad or a blessing. However, due to its small size, such a garland is sometimes worn around the ear. Although, many people look upon this instrument as sacred, which is often seen, especially in their religious festivals, in the hands of the devout Hindoos, such as Faquirs and Beeshnubs, it is no less true that the people make use of it also at their feasts.

The form of the khol is sufficient to look at it, because to have a perfect idea of this instrument, which consists merely in a piece of earthen ware covered at the two ends with a skin stretched like our drums, except that the lower end is wider and produces a deeper sound than the upper. It is not necessary to remark that the music of the khol is as monotonous as that of the other instruments.

The Hindus, on the other hand, find in it an extraordinary charm, and pretend that when it is accompanied by the voice, then this instrument is capable of expressing all the emotions of the soul, from the most violent to the most tender.

The khol is a classical Indian double headed drum of eastern India. The body is made from clay in an asymmetrical barrel shape. The tapering toward the right end of the khol's body is more sharply accentuated than that of the classical pakhavaj, which is associated with the dhrupad tradition of the North Indian music. Like the pakhavaj, the khol has a treble right head tuned to a specific pitch and a lower pitched bass left head. However, the khol is tuned higher than the pakhavaj and has a metallic timbre.

The khol is closely associated with kirtan, which is a devotional singing of the Vaisnava tradition of Sri Caitanya Mahaprabhu, the late sixteenth century bhakti poet saint of Bengal. The instrument continues to be looked upon as sacred by Vaisnava devotees of this sect, and its worship, along with that of the kartal cymbals still forms part of the ritual practices of the kirtan event. Solvyns depicts the use of the khol, which is referred to as the mirdun or mrdanga. Along with the bak and kartal in his portrayal of Hari Sankirtan, a congregational singing of devotional songs praising Hari. This practice is believed to have been begun by Caitanya.

The Beeshnubs mentioned by Solvyns are Vaisnava. Solvyns portrays a Baisnab in one of the etchings depicting Hindu ascetics, and writes that they are individuals who, after having renounced all pleasures of life, the riches and good things of the earth, devote themselves to the worship of Vishnou. The figure depicted in the etching wears the mark of Visnu on his forehead.