Kakubha Ragini. A lady stands before a chamber and hands to her confidante a gift for her lover, who is seated a little way off. Reproduced: Ebeling (1973), 216, fig.123.
Dhanasri Ragini. The lady sits drawing a picture of her lover while an attendant sits before her holding a shallow cup. Reverse: verse in ‘nasta‘liq.’ See Gangoly (1935), II, pl.LVIII for the Sanskrit description.
Malarika Ragini. A girl sits by a pavilion holding a ‘vina.’ The verses describe how she weeps in dejection, her mind confused by the passion of youth. See Gangoly (1935), II, pl.LXVII for the Sanskrit description.
Desakari Ragini. A gold-complexioned girl sits on a terrace with her lover with whom she exchanges a confident glance. See Gangoly (1935), II, pl.LXXV for the Sanskrit description.
Tanka Ragini. The lover arriving at a chamber, finds his lady reclining on a bed, her mind distracted by separation from him. See Gangoly (1935), II, pl.LXXVII for the Sanskrit description.
Gauri Ragini. A lady seated on a mountain top raises her right hand in song. Reverse: Punjabi verse in ‘nasta‘liq.’ See Gangoly (1935), II, pl.XXIII for the Sanskrit description.
Gunakali Ragini. A lady with her hair loose meets her lover in a garden. See Gangoly (1935), II, pl.XXIV for the Sanskrit description; not followed in the picture.
Hindola Raga. Lovers sit on a swing attended by four girls. Four peacocks are perched on the beam of the swing. See Gangoly (1935), II, pl.XXX for the Sanskrit description.
Ramakali Ragini. The lady, dressed in blue with a complexion of gold, sits facing her lover, expressing her pride by pulling her veil before her face. Reverse: traces of a pounced drawing of Siva, and a Punjabi verse in ‘nasta‘liq.’ See Gangoly (1935), II, pl.XXXII for the Sanskrit description.
Desakhya Ragini. A lover sits with his lady who is holding her arms above her head (perhaps signifying physical well-being normally associated with this subject). See Gangoly (1935), II, pl.XXXIV for the Sanskrit description.