Comparing them provides a convenient window to see into the collective mind-set of the shawl industry just prior to the real beginning of its downfall and self-destruction. Like buildings that somehow manage to stand after an earthquake while all those around them were reduced to rubble an extremely limited number of shawl designers and weavers were able to continue to produce traditional masterworks even though degeneration, commercialism and change were accelerating everywhere else.

Granted Plates Ten and Eleven could never be rightfully compared to those made in the Classic Period, even in the fragmented states we find them in today. But as statements reflecting their own time period these two shawls reign supreme.

Plate Ten has some of the realistic and remarkable wind-blown appearance Plate Two captures. As a matter of fact several factors point to the possibility they might be directly related. First, notice how each of lower leaves, as well as some of the others, in Plate Two were depicted as bi-colored (fig.31). Then notice this detail was repeated on Plate Ten and Eleven. There should be no doubt this is a highly unusual feature and it very significant, as few other examples exist.

Another more common but still infrequently used design element are the finials Plates Ten(fig.32), and Plate Eleven(fig.33) have at the very top of their uppermost flowers. Plate Two initiates the use of this element(fig.34) and this Plate revives its rare tri-partite style rather than the more common one Plate Eleven shows. These finials, especially the tripartite version can be traced back to their root as an integral part of the architectural efforts to create a dome.

The first domes in India as well as elsewhere were most likely made of bamboo or wood and the finial which can be seen atop most brick and stone examples is the vestigial remains of the caps that used to keep the separate bamboo or wood poles in place. These finials like the vestigial caps served no purpose nor did they add to the design in any way. Their presence on these and other shawls must have held some symbolic meaning besides being reminders of the past.

A rather curious feature found in Plate Ten's design is the small pair of undulating leaf forms jutting out from both sides of the hillock (fig.35). Plate Six's earlier and far more evocative version of this undulating leaf was most probably the source for their inclusion. Again Plate Ten falls into the revivalist period and it should come as no surprise to see an element like this reused.