solidity of this mausoleum, combined with the bold and massive towers of
the fortifications that surround it, form a picture of a warrior's tomb
unrivalled anywhere."
The day's experience included luncheon at a "rest house" near Kutub
Minar; this term applies to a simple semi-hotel, provided by the
Government for the convenience of members of the military and civil
service and their families; it is situated in places where there are no
hotel facilities, and, when unoccupied, the public may share in the
convenience.
The long, intensely dusty ride to Delhi,[2] past ruin after ruin, gave
us leisure to reflect on the ravages of time and the mutability of all
earthly things.
[Illustration: _Northern colonnade of the Islam mosque, showing ruined
arch_]
Another afternoon drive about Delhi revealed new points of interest,
including some which are associated with the mutiny, such as the Ridge
where the British troops were stationed and from which a fine view is
afforded; Flagstaff Tower, where the women and children were assembled
on May 11, 1857; and the very inadequate Mutiny Memorial Monument,
erected to commemorate the heroic deeds of the officers and soldiers who
fell during the summer of 1857.
But the scene that will linger longest in my memory is the panorama of
the massive walls, towers, gateways, and the half-ruined palace. Then,
one can hardly forget the Pearl Mosque, which is of such rare beauty as
to prove a fitting memorial to the "Great Builder," Shah Jahan; the
latter has a prototype in modern times,--none other than Ludwig II of
Bavaria, whose palaces also linger in the memory as a dream of beauty.
* * * * *
AGRA, _December 18th_: No one can visit Delhi and Agra without being
impressed by the rulers of the golden period of the Mogul Empire, the
great Akbar standing forth prominently as a wise potentate and the
strongest personality in Indian history, certainly in Central India. His
son, Jahangir, was not his equal, but his mantle of power seems to have
descended to his grandson, Shah Jahan, who, like him, was famed in the
matter of building, as we have seen at Delhi, and furthermore were to
see at Agra, our next point of observation. We arrived on the afternoon
of December 18th and proceeded to the Hôtel Metropole.
As the train approached the city, we caught a glimpse of that
incomparable creation, the Taj Mahal, and were immediately under its
spell, so we at once took carriages and were conveyed there. As we drew
near, the massive, finely proportioned gateway burst upon us. The
entrance is of red sandstone, with Moorish arches and pavilions, while a
wall of masonry, with turreted corners, encircles the grounds. At the
centre of the two adjacent sides are gateways of similar construction to
the entrance. One is, however, unprepared for the white-domed vision
beyond, which at once inspired admiration and awe. The first view was at
sunset, and the atmosphere was filled with a golden haze that rested
lovingly on the graceful turrets and dome. We lingered on to catch the
moonlight effect, and as the twilight faded and the outlines became
shadowy, there was a peculiar illusion, which was heightened by the
first glimmering silvery light, soon to be succeeded by a full radiance
which illumined the white marble pile and the whole environment. We sat
spellbound amidst the loveliness of the scene; no one spoke, and this
silent tribute of respect was shared by other "lookers on."
[Illustration: _Kutub Minar, the Tower of Victory in Old Delhi_]
Our last visit was in the full effulgence of the morning, when we were
able to obtain new points of view, and to visit the adjacent red
sandstone mosque, as well as the corresponding opposite edifice (which
is an audience room). Some of the party crossed the river Jumna, which
runs back of the grounds, so as to see the reflection of the Taj in the
water. No words of mine can fitly describe the impression, but figures
sometimes aid the imagination. The foundation is three hundred and
thirteen feet square and eighteen feet in height, and the edifice itself
is one hundred and eighty-six feet square, with a dome rising to the
height of two hundred and twenty feet. At each corner of the foundation
stands a tall, graceful minaret, one hundred and thirty-seven feet in
height. Add to this the statement that it took twenty thousand men
seventeen years to complete the work, at a cost variously estimated at
from $17,000,000 to $20,000,000, and you may form an idea of the
delicate workmanship and artistic skill which the Taj represents. But
simplicity is, after all, the keynote, and there is also a rare
personality in its outlines reflecting feminine grace. This is
distinctly felt when viewing the cenotaph (the real tomb is in a crypt
below), which is, like the entire edifice, built of the whitest of
marble and decorated with rare, beautiful designs, while the screen
which encloses the cenotaph of the Queen is also of marble, carved in a
lacework design of exquisite beauty.
The diamonds, pearls, rubies, and other precious stones which once
embellished this and every other part of the edifice, were taken away by
ruthless invaders of India; and their places filled by colored stones
with little loss of effect. Shah Jahan's cenotaph lies unenclosed at the
left, showing that it was not included in the original plan. Indeed, it
had been the intention of Shah Jahan to build for himself a mausoleum,
of corresponding style, yet of dark marble, across the river Jumna; the
shadow which rested on his later life prevented the idea from being
carried out. But the creation of this tribute to all womanhood typified
in his beloved wife is a monument which time cannot efface. Arjamand
Banu Begum was a Persian princess of rare beauty and of great personal
charm. She died in giving birth to her eighth child, and through all the
years had held the supreme place in Shah Jahan's life; despite the
Oriental custom of having other wives, she had won for herself the title
of Mumtaz-i-Mahal, "The exalted of the Palace." Hence the Eastern habit
of placing a mausoleum in a garden was peculiarly fitting for so
peerless a queen; in this instance it forms a perfect setting for the
Taj.
[Illustration: _Gateway leading to Taj Mahal_]
[Illustration: _Taj Mahal_]
[Illustration: _Screen in Taj Mahal_]
[Illustration: _Shah Jahan and his wife in whose memory the Taj was
built_]
The garden was redeemed from a hopeless tangle (into which it had
fallen), under the direction of Lord Curzon, who did so much to stay
ruin and devastation. It is laid out in a conventional style, one square
being devoted to roses, another to poinsettia, while long stretches of
foliage plants here and there, with a mass of dark green cypress trees,
give it a breadth of view that is enhanced by a marble avenue, leading
from the entrance to the tombs, the sweep of avenue being broken midway
by a marble seat from which a fine view of the Taj is afforded. Running
parallel were marble aqueducts which contained, at set intervals,
playing fountains; these were inactive, however, at the time of our
visits. One could return to the Taj day after day, as the subtle
influence of its beauty and its spiritual significance are ever present.
Sad indeed was the fate of the builder, Shah Jahan, who ruled from 1620
to 1658 and who was then deposed by his son, Aurangzeb. The latter
transferred the capital to Delhi, causing his father to languish seven
long years in a small suite of rooms in the palace at Agra as a
prisoner, his only companion a devoted daughter.
While the centre of attraction in Agra is the Taj Mahal, the fort,
palace, and Moti Musjid (Pearl Mosque) are of equal interest. Here we
see the impress of three rulers, Akbar (the grandson of the noted Mogul
king, Baber, and son of Humayun, both of whom lived at Agra), Jahangir,
his son, and Shah Jahan, his grandson.
Akbar removed to Agra, from the old capital Fatehpur-Sikri, about 1568,
but the only monuments that are now attributed to him are the massive
walls of the fort and the red palace. Jahangir built the palace which
bears his name, but as it is somewhat gloomy in appearance, his chief
claims to distinction as a builder are the tombs of Itimid-ud-Daulah and
Akbar's tomb at Sikandra. Shah Jahan built the palace which contains the
beautiful Diwan-i-Am, or Hall of Public Audience; the Diwan-i-Khas, or
Hall of Private Audience; the Shish Mahal, or Mirror Palace; the
Saman-Burj, known as the Octagon, or Jasmine Tower; the Mina Musjid, or
Gem Palace (the private mosque of the Emperor); with many other notable
edifices. The Moti Musjid, or Pearl Mosque, is furnished with a superb
exterior setting.
Having described similar halls in the palace at Delhi, I will only
briefly enumerate some distinguishing features of each of the buildings
just mentioned. All were either injured or defaced in the mutiny
conflict of 1857, which raged in Agra from May 10th to October 10th, six
thousand women and children, with a few men, having found a refuge there
during the siege. A feature of the Public Audience Room is a grille in
the back wall, through which the Sultanas or members of the Zenana could
watch the proceedings below; and in the centre of the hall is a
raised alcove of white marble, richly decorated in low relief.
[Illustration: _Agra Palace and part of wall and gateway to the fort_]
[Illustration: _An Octagon Tower of the Agra Palace_]
The Hall of Private Audience consists of an open colonnade in front of
an enclosed room at the back. The illustration shows the front
overlooking the court, while beyond is the Octagon Tower, the residence
of the chief Sultana. In the court a portion of the marble pavement is
made to represent a pachisi or chess board, and it is said the game was
played with slave girls, who were used instead of the customary
chessmen. The Octagon Tower is built out over the river Jumna, as will
be seen in a later picture.
The portion known as the Mirror Palace is unique, as it consists of two
dark rooms furnished with fountains and an artificial cascade arranged
to fall over lighted lamps. The walls and ceilings are decorated with
innumerable small mirrors which were restored in 1875. The palace
measures seventy by forty feet, and is built at the east end of a garden
two hundred and fifty feet square, planted with flowers and shrubs.
Underneath the structure are subterranean apartments for use during the
summer heat, and from here passages lead to still cooler rooms in
another portion of the fort.
In the southeast corner of this Anguri Bagh, or garden, are three finely
decorated rooms which were once the private apartments of Shah Jahan.
The Jahangir Mahal, or palace, is noticeable on account of the bright
red tiles used in the upper portion. It also has a fine domed hall which
leads into a large central court.
But the crowning single feature in this fort (which is over a mile in
extent) is the Moti Musjid, or Pearl Mosque. Mr. Ferguson considers it
to be "one of the purest and most elegant buildings of its class to be
found in the world." It ranks next to the Taj Mahal among Shah Jahan's
creations. The entrance gateway is of red sandstone and is approached by
a lofty double staircase. The exterior is faced with slabs of red
sandstone, but the interior is built of marble, white, blue, and gray
veined. The courtyard of the mosque is deservedly celebrated. In the
centre is a marble tank for ablutions, and a marble cloister runs around
three of its sides. A flight of steps leads to the roof of the mosque,
from which a fine view is obtained.[3]
[Illustration: _The Pearl Mosque_]
[Illustration: _Akbar's tomb in Sikandra_]
A pleasant excursion across the river led us to the tasteful tomb of
Itimid-ud-Daulah. The entrance gate is fine, and the approach through
spacious, well-kept grounds gives one a wide perspective. The façade is
of marble with considerable inlaid work. Itimid-ud-Daulah was a Persian
High Treasurer, and the grandfather of the Lady of the Taj. The tomb was
built by Shah Jahangir, as was that of King Akbar at Sikandra, five
miles distant from Agra and a delightful excursion to make. It has an
imposing gateway and is situated in the midst of a veritable park. It is
of red sandstone, inlaid with white marble, and is a pyramidal building,
four stories high, the first three being of red sandstone and the fourth
of marble. The base measures three hundred and twenty feet, and the
fourth story one hundred and fifty-seven feet (narrow stairways leading
upward), which indicates a gradual decrease and tapering in size. A
massive cloister runs around the lower story, and the fourth story is
occupied by the marble cenotaph of Akbar, directly over the crypt which
contains his tomb. The cenotaph is engraved with ninety-nine names of
the deity. This story is surrounded by a white marble cloister, and on
the outer side of each arch is an oval-shaped recess, filled with
delicate lacework carving of varied patterns in marble. The effect is
unlike anything elsewhere seen. There are several other historic tombs
in the vicinity, and many points of interest all the way to Akbar's old
capital, Fatehpur-Sikri. This is twenty-two miles distant, a day's
excursion, and easily reached in automobiles; although it took some
faith to trust one's self to the rather indifferent chauffeurs.
* * * * *
FATEHPUR-SIKRI: This royal but long-destroyed city is sacred to the
memory of the Emperor Akbar, who built a gorgeous structure and selected
the site through the advice of the renowned Saint Selim Chisti. He
eventually abandoned it on account of its unhealthy location, and
transferred the capital to Agra, where, as we have seen, he built a fort
and the red palace. There is an unusually imposing gateway on one side
of Fatehpur-Sikri, leading up to the mosque, but we made our entrance
from the adjacent side; hence our first view was like that in the
illustration. A large, five-story building to the left served as a
recreation place for the ladies of the court, while back and to the left
of this was seen the beautiful dome of the mosque, said to be almost a
counterpart of the one at Mecca. So many and varied are the buildings in
this fort that it is inexpedient to do more than allude briefly to them.
The three palaces of the Sultanas are notable for their beauty, variety,
and wealth of ornament, the Sultanas being Miriam, the Portuguese
Christian; Rakinah, Akbar's cousin; and the Turkish Sultana. The Emperor
also has a suite of several rooms. The palace of Birbal, Akbar's prime
minister, is, architecturally, the most perfect of any in the enclosure
and was built for his daughter. The rooms allotted to the Zenana are
spacious. Near the recreation building is the famous pachisi or chess
board, similar to the one at Agra, where Akbar and his vizier, sitting
opposite, marshalled the slave girls to and fro.
[Illustration: _General view of Fatehpur-Sikri_]
The plan of the mosque is unusual in its construction, and so is the
massive gateway. Passing through the latter, an exquisite monument
presents itself in the tomb of Selim Chisti, the venerable hermit saint,
who lived a retired existence in a cave and yet who was the controlling
force in Akbar's life. The place is simple, and displays such delicacy
of skill in its composition as to excite admiration. It is surrounded by
a beautiful white marble lattice-work screen, ornamented with brass, and
the canopy over the tomb of the saint is inlaid with mother-of-pearl.
The photograph is very effective, but, like many others, it has to be
omitted (I have five hundred scenes of the tour). The public audience
room is encompassed by cloisters. There is a treasury, a mint, a record
office, and a building with three large rooms known as the Minchauli
Anch, which is said to be the place where the Emperor played
hide-and-seek with the ladies of the court; this is probably an
erroneous statement.
The most unusual building is the Diwan-i-Khas, the council chamber. From
the outside it seems to be two stories high, yet there is really but one
story with a large central pillar which is surrounded by an immense
circular capital. From this radiates four stone causeways to the
corners of the room; these are enclosed by an open trellis with stone
balustrades. The shaft of the pillar is finely carved, and all is in
perfect condition, due to careful restoration. It is said that the
Emperor sat in the centre of the pillar when he held a council, while
the four advisers sat in the corners. Stone staircases lead to the roof,
where a glimpse of the whole enclosure is afforded. A novel view is
obtained down a stone-paved roadway, leading to a large court, at the
north end of which is the deer minaret, or circular tower, seventy feet
high, decorated with protruding elephants' tusks in stone. From the
lanterns at the top, the Emperor is said to have shot antelopes drawn
under the column by beaters employed for that special purpose.
Reading between the lines, one learns that Akbar was a very peculiar
character, domineering and despotic, yet generous to the immediate
members of his household and to his favorite courtiers,--he was very
cruel, however, when they displeased him; very broad in his religious
views; and although a devoted Mohammedan, he was tolerant of all
religions, and there are accounts of religious discussions taking place,
in which every shade of belief was represented. He decreed that his
daughters should all marry Hindu princes.
[Illustration: _A column in the Audience Hall (Diwan-i-Khas)_]
Our guide told us that formerly there were underground passages and
apartments, but he did not state, as did another guide to a party of
tourists at Agra, that these apartments were for the disciplining and
torturing of the members of the Zenana and even of his wives. Taking
into consideration the attention he gave to the comfort and pleasure of
the ladies of the court, as seen in the palaces and the large recreation
building extant, this statement appears inconsistent, and so it is
necessary to give him the benefit of the doubt. The "auto" ride back to
Agra was accomplished without any broken limbs, and another red-letter
day was ended.
Before leaving Agra one should either visit the Taj Mahal for a final
look, or, from the Jasmine Tower of the palace, gaze through the
intervening two miles of space to catch its shadowy outline as seen by
Shah Jahan during those seven solitary years of vigil. I chose the
latter method for convenience' sake, after visiting the bazars, and in
consequence was rewarded with a never-to-be-forgotten view.
Delhi and Agra are indissolubly connected by their rulers and by
historical events; in leaving them one feels as if never again would so
much of unique interest be presented in the line of architectural skill
and poetic sentiment.
* * * * *
CAWNPORE, _December 24th_: We took a night train from Agra to Cawnpore,
arriving there early on the morning of December 24th and stopping over
a few hours to break the journey. Cawnpore is full of mutiny memories,
and we visited some of the historic points, going first to the Ghat
(steps) where cruel Nana Sahib burned, or murdered, a boatload of
Englishmen; also to other scenes of horror. Then we went to the memorial
well, and to the memorial church with its peaceful interior, which was
being decorated with greens in true English fashion, for the service of
the morrow, when "Peace and good will to men" would ring out, and for
the time being mutiny memories would be forgotten. We drove to the park,
where, as an accessory to a certain artistic building, there is to be
seen an exquisite angel of carved marble, a memorial erected by the
Government. Next, we visited some bazars of no special interest.
* * * * *
LUCKNOW, _December 24th_: After luncheon, we took the train for Lucknow.
On the way, Murray's "Lucknow" was re-read, and another mutiny chapter
added. Lucknow is the capital of the province of Oudh. In 1813 the
English conferred the title of king on the ruler, but, for reasons of
distrust, withdrew it in 1856, and at the same time discharged eighty
thousand high-caste soldiers,--an action which produced instant
dissatisfaction and was one of the direct causes for the mutiny. We
arrived at Wutzler's Royal Hotel in the late afternoon, and felt
gladdened by the comfort and good cheer that awaited us,--a hopeful sign
inasmuch as the morrow was Christmas Day. A drive to Wingfield Park and
a visit to an exquisite tomb mosque ended the sight-seeing day.
[Illustration: _Jasmine Tower and distant view of the Taj_]
[Illustration: _The ghat at Cawnpore_]
Christmas without the usual morning service seemed peculiar, but the law
of the majority in our party prevailed, and we drove instead to the Fort
and Residency, the centre of interest since 1857. The awe and solemnity
inspired by that visit, with the Christmas bells ever and anon breaking
the silence, can never be forgotten. The Residency is situated in the
centre of a large park which was the scene of a siege lasting from July
1 to November 17, 1857, three thousand men, women, and children, besides
the military, being there for safety. The number of refugees was reduced
to one thousand by September; the large rooms on the ground floor of the
Government building, with two stories above and extensive subterranean
rooms, made their stay possible, but involved great suffering and
horrible death as the siege went on. The large banquet hall of the
Residency near by was converted into a hospital. Both buildings are now
in ruins. But the roofless Residency with a tangle of vines (and a
decrepit stairway that leads upward) furnishes a fine view of the whole
scene, which in its very quietness bespeaks bravery, endurance, and
heroic suffering.
The buildings of Lucknow are not important, with the exception of the
Jumma Musjid, the great Imambara with its fine gateway, court, and
arcades. The Imambara Mosque has two minarets, and the great Imambara
Hall, one hundred and sixty-three by fifty-three feet and forty-nine
feet high, is one of the largest vaulted galleries in the world. The
palaces of the late king of Oudh, the clock tower and other mosques and
tombs, were visited, for, as usual, the persistent guide insisted on our
seeing all the "sights" (exaggerating the descriptions, it always
seemed, in proportion to their lack of importance), and it was "Memsahib
this" and "Memsahib that." Christmas Day, with a June temperature, soon
came to a close; the dinner was somewhat English in its many
appointments, with its roast beef and plum pudding,--other home touches
being added by our ever-thoughtful Director. There was good cheer, but
we silently thought of home and the friends far away.
* * * * *
[Illustration: _The Residency at Lucknow_]
BENARES, _December 26th_: Benares is the sacred city of India, and the
river Ganges with the ghats is the point where thousands upon thousands
of worshippers congregate, coming from every point where Hinduism
prevails. We had anticipated revolting scenes, and were not
disappointed, as the superstition of the devotees, the grasping conduct
of the priests, and the disgusting practices in the name of so-termed
religion all contributed to that end. We arrived during the afternoon of
December 26th, going to the Hôtel de Paris. A drive was instantly
proposed, and we were taken to the Maharaja's palace, with grounds laid
out conventionally, the trees and shrubs representing peacocks and
animals of different kinds. The palace was spacious but tawdrily
furnished; it is noteworthy as being the home to which the Maharaja and
his family repair whenever they feel the approach of death; there is a
superstition among the Hindus that death must occur on the north bank of
the sacred river Ganges, in order to become a monkey after death
(monkeys are considered sacred); for if the demise occurs on the
opposite side of the Ganges, one would surely become a donkey.