Six miles from Agra on the Delhi road is situated the tomb of the Great Akbar. We drive to it in the early morning, when the air is cool and crisp, through a green aisle of noble trees, from whose boughs chatter a host of green parrots. The effigy of a horse in red sandstone attracts our notice, and walled gardens, time-stricken mosques and tombs re mind us of the days when the Moghuls ruled the land, and Agra was one of the most splendid cities in the East. The carriage stops at a massive square pavilion, whose terrace is crowned by eight kiosks and four shattered white marble minarets. The facade is pierced by a lofty pointed arch, and ornamented by bold incrustations in coloured marble and by broad black inscriptions in the flowing graceful Persian character. The inscriptions set forth the praises of the monarch and the mausoleum. The name of the Emperor Jehangir, the son of Akbar, is given as that of the founder, and it is stated that the work was completed in the seventh year of his reign, corresponding to 1613 A.D. Jehangir in his autobiography informs us that in this year of his reign he went " on foot to see the resplendent sepulchre of his father." " When I had obtained the good fortune of visiting the tomb, and had examined the building which was erected over it, I did not find it to my liking. My intention was, that it should he so exquisite that the travellers of the world could not say they had seen one like it in any part of the inhabited earth. While the work was in progress, in consequence of the rebellious conduct of the unfortunate Khusru, I was obliged to march towards Lahore. The builders had built it according to their own taste, and had altered the original design at their discretion. The whole money had been thus expended, and the work had occupied three or four years. I ordered that clever architects, acting in concert with some intelligent persons, should pull down the objectionable parts which I pointed out. By degrees a very large and magnificent building was raised, with a nice garden round it, entered by a lofty gate, consisting of minarets made of white stone." Finch, who visited Agra about this time, writes : " Nothing more finished yet after ten years' work. This tomb," he adds, " is much worshipped both by Moors and Gen tiles, holding him for a great saint." Hawkins states : " It bath been fourteen years building, and it is thought will not be finished these fourteen years more. The least that works there daily are three thousand people ; but this much I will say, that one of our workmen will despatch more than three of them." Passing through the gateway we come to a square planted with grand old trees, and carpeted with grass as green as an English lawn. It looks more like an English park than an Indian garden. At the end of a broad stone causeway rises the mausoleum on a raised red-sandstone platform. The lower story is pierced with ten large Moorish arches, and in the centre is a larger Moorish archway adorned with marble mosaic. Above this rise three storeys of diminishing size, all being of red sandstone, and marked by rows of kiosks of exquisite lightness and elegance of design. Above the last story is a white marble square, paved with white and coloured marble, around which runs a corridor of marble supported on the most delicate pillars ; and the whole is surrounded by an outer screen of marble divided into panels of marble trellis-work of the most beautiful pattern. The terrace has no roof. Finch says : " It was to be inarched over with the most curious white and speckled marble, to be ceiled all within with pure sheet gold richly inwrought." Fergusson considers if the tomb had been crowned with a domical chamber it certainly would have ranked next the Taj among Indian mausoleums. To have crowned it with a dome might have destroyed the characteristic features of the building, and any canopy but that of the vault of heaven would certainly have diminished its romance. To look at the bright blue sky roofing the white marble tomb and to watch the sunlight on the beautiful flowers carved on it reveals the poetry and genius of the designer. In Persian characters are inscribed the ninety-nine names or attributes of the deity from the Koran. " Verily there are ninety-nine names of God ; whoever remembers them shall enter Paradise." At the head of the monument are carved the words " Allah Akbar " (God is great). But the mortal remains of the Great Akbar lie not beneath this tomb, but in a vault beneath the ground floor.
The first apartment of the building is the Sonehri Mahal, or chamber of gold. The sides and ceiling of the vaulted room are in compartments, which bear traces of having been ornamented with flowers, raised in gold, in silver, and enamel. And an inscription in gold raised upon a blue ground runs around it. From the Golden Room a long narrow passage leads to a plain gloomy chamber, and beneath a simple marble tomb lies the Great Akbar. Finch states that the coffin was made of gold.
The Emperor who puts questions of sceptical philosophy to Muslim moulvies, Hindu sages, Christian missionaries, who conversed familiarly with men of letters, and who was a wise and strong ruler, is one of the most striking figures in history. At the time when in England the fires of Smith field were alight, and men suffered torture and death for their religion, Akbar established entire toleration throughout his dominions. A Muhammadan historian writes : " Learned men of various kinds and from every country, and professors of many different religions and creeds, assembled at his Court, and were admitted to converse with him. Night and day people did nothing but inquire and investigate. Pro found points of science, the subtleties of revelation, the curiosities of history, the wonders of nature, of which large volumes could only give a summary abstract, were ever spoken of. His Majesty collected the opinions of every one, especially of such as were not Mohammedans, retaining whatever he approved of, and rejecting everything which was against his disposition and ran counter to his wishes. From his earliest childhood to his manhood, and from his manhood to old age, his Majesty has passed through the most diverse phases, and through all sorts of religious prac tices and sectarian beliefs, and has collected everything which people can find in books, with a talent of selection peculiar to him, and a spirit of inquiry opposed to every (Islamitic) principle. Thus a faith based on some elementary principles traced itself on the mirror of his heart, and as the result of all the influences which were brought to hear on his Majesty, there grew, gradually as the outline on a stone, the conviction in his heart that there were sensible men in all religions, and abstemious thinkers and men endowed with miraculous powers, among all nations." The historian adds : " In A. H. 986 the missionaries of Europe, who are called Padris, and whose chief Pontiff, called Papa. (Pope), promulgates his interpretations for the use of the people, and who issues mandates that even kings dare not disobey, brought their Gospel to the King's notice, advanced proofs of the Trinity, and affirmed the truth and spread abroad the knowledge of the religion of Jesus. The King ordered Prince Murad to learn a few lessons from the Gospel, and to treat it with all due respect, and Shaikh Abu-l-Fazl was directed to translate it. Instead of the inceptive Bismullah,' the following ejaculation was enjoined : ' In nomine Jesu Christe,' that is, ' Oh ! thou whose name is merciful and bountiful.' Shaikh Faizi added to this, Praise be to God ! there is no one like Thee—Thou art He ! j " Akbar not only took an interest in the different sects of the Hindus, but also in their classical language. The learned, but bigoted, Abdul-Kadur states : " On a third night the King sent for me, and desired me to translate the ' Mahabharat' in conjunction with Nakeb Khan. The consequence was that in three or four months I translated two out of eighteen sections, at the puerile absurdities of which the eighteen thousand creations may well be amazed. Such injunctions as one never heard of. What not to eat, and a prohibition against turnips ! But such is my fate, to he em ployed in such works. Nevertheless, I console myself with the reflection that what is predestined must come to pass." However, the other great Indian epic pleased him better, for he writes : " In this year the King commanded me to make a translation of the Ramayana, a composition superior to the Mahabharat." The translations from the Sanskrit, which were made by command of Akbar, appear to have been executed under the superintendence of the poet Feizi (most excellent), the brother of the Minister Ab-ul-Fazl (the father of excel lence). The two brothers were the Emperor's dearest friends, and to them he poured out all the doubts and aspira tions of his soul. It was Ab-ul-Fazl who persuaded his sovereign " that the seal and asylum of prophecy was no more to be thought of than as an Arab of singular eloquence, and that the sacred inspiration recorded in the Koran were nothing else but fabrications invented by the ever blessed Mahomed." To Ab-ul-Fazl we owe the A in-i Akbari, or code of regulations drawn up under the direct supervision of his master. It contains the best record of Akbar's policy and of the conditions of the country under his rule. The brutal murder of his Minister caused the Emperor profound grief, and he survived his faithful servant and friend only three years. In September 1605 after a reign of forty-nine years, almost equal in extent as it was in brilliancy to that of his great contemporary, Elizabeth, Akbar was stricken with a mortal illness. He seemed anxious to die reconciled to the Muslim faith, and a Muslim priest was summoned, who came and read the Muhammadan confession of faith. When finished, Akbar threw his arms round his son's neck and spoke to him parting words of advice. " My servants and dependants,—When I am gone, do not forget the afflicted in the hour of need. Ponder word for word on all I have said, and again forget me not." Then the life of the great Akbar—philosopher, warrior, and statesman—ebbed quietly away. His son has left us the
following delineation of his intellectual character " My father used to hold discourse with learned men of all persuasions, particularly with the Pandits, and was illiterate, yet from constantly conversing with learned and clever persons, his language was so polished, that no one could discover from his conversation that he was entirely uneducated. He under stood even the elegancies of poetry and prose so well that it is impossible to conceive any one more proficient." The son has also drawn the following graphic portrait of the Emperor : " He was of middling stature, but with a tendency to be tall, wheat-colour complexion, rather inclining to dark than fair, black eyes and eyebrows, stout body, open forehead and chest, long arms and hands. There was a fleshy wart, about the size of a small pea, on the left side of his nose, which appeared ex ceedingly beautiful, and which was considered very auspicious by physiognomists, who said it was the sign of immense riches and increasing prosperity. He had a very loud voice, and a very elegant and pleasant way of speech. His manners and habits were quite different from those of other persons, and his visage was full of godly dignity." Leaving the tomb of Akbar, we drove to another mauso leum beyond the Jumna. It is situated in a walled garden, to which there are four gateways of red granite, ornamented with black and white marble. On a raised platform stands the mausoleum—a square building with an octagonal tower, somewhat squat in proportion, at each corner. The beauty of the building is due to its being entirely built of white marble, and being covered throughout with a mosaic in j5ietra Jura. It was early in the seventeenth century that Italian artists, principally from Florence, taught the Indians the art of inlaying this marble with precious stones, and the tomb of Itimad-ud-Daula is probably one of the first, and certainly one of the most splendid examples of that class of ornamentation in India. It is impossible to agree with the criticism of Fergusson, that, " as one of the first, the tomb of Itimad-ud-Daula was certainly one of the least successful specimens of its class. The patterns do not quite fit the places where they are put, and the spaces are not always those best suited for this style of decoration." • The mosaic at this mausoleum is more Oriental, more bold, and more true to nature than the decoration of the screen at the Taj, where Italian influence has debased the art to the feebleness and falseness of a Florentine paper weight. Above the central chamber there is a marble pavilion on a slightly raised platform. It has a canopy-shaped roof with wide projecting eaves, and is supported on twelve marble pillars with marble screens of exquisite pattern, wrought like lace, between them. In the pavilion are two altar tombs like those in the chamber below, where are interred the remains of Mirza Gheas Bey, a Persian adventurer from Tehran whose surname was Itimad-ud-Daula, and his wife. The sides of the chamber are lined with marble inlaid with mosaic, and the ceiling is most elaborately ornamented with gold and silver, and coloured flowers raised in compartments which are fast becoming tarnished and effaced. The side chambers are panelled with marble, inlaid with mosaic, plain and effective, and the ceilings are adorned with flowers and the graceful long-necked Persian vase. Facing the river there is an ornamental red sandstone building, where we sat and watched the sun bathe the white domes of the Moti Musjid rising above the pink ramparts of the fort. Down below us are the gay waters of the Jumna, and a wide boat laden with straw is floating down the stream, In the far distance, en veloped in a veil of woven light or luminous haze, are the marble dome and minarets of the Taj. The Taj is the ex pression in marble of wedded love, the Itimad-ud-Daula of filial affection. It was erected by Nur Jehan, who was hardly inferior to Elizabeth in intellectual power, while in beauty and voluptuous grace she was equal to Mary Stuart, to commemorate the memory of her father, Mirza Gheas Bey, who was created Vizier by his Imperial son-in-law, Jehangir. The life of Nur Jehan is a romance from the cradle to the grave. Her father was a native of Tartary, which he quitted to seek his fortune at the Court of Akbar. He was so poor that, placing his wife on a horse, he himself was obliged to perform the journey on foot. Before he reached his destina tion a daughter was born to him, to whom he gave the name of Nur Mahal, or light of the palace. His talents gained him the favour of Akbar, who made him Chancellor of the Exchequer. The daughter born in the desert grew up to be a woman of surpassing beauty, and one day, when paying a visit to the Queen, she met the heir-apparent, and won his heart by dropping her veil, as if by accident, and in the graceful confusion occasioned by the incident, allowing her beautiful eyes to rest upon his. The young Prince desired to make her his wife, but the Emperor refused to allow the marriage, and tried to put Nur Jehan out of his son's way by causing her to be married to a young Persian nobleman —Shir Afghan Khan—who received high employment in Bengal. When Jehangir ascended the throne he commanded the divorce of Nur Jehan, but the husband refused, and after several ineffectual attempts the Emperor caused him to be slain. Nur Jehan was brought to Delhi. The Emperor, in a fit of remorse, however, refused to see her, and granted only a, paltry allowance for the support of herself and her slaves. To supplement her scanty means, Nur Jehan, who was endowed with ability as well as beauty, proceeded to work pieces of rich embroidery, and to paint silks and sell them to_ the inmates of the harem. The money gained she spent in embellishing her apartments and adorning her slaves. She herself, to suit the character of a poor widow, affected a plain and simple dress. The fame of her skill and her taste spread far and wide, and reached the ears of the Emperor. His curiosity was aroused, and one day he surprised her in her apartments. She arose and saluted him, and with downcast eyes stood before him attired in simple dress. Her stature, shape, beauty, and voluptuous grace revived the old passion. Astonished at the contrast between her simple attire and the splendour which surrounded her, the Emperor asked : " Why this difference between the Sun of Women and her slaves ? " With a woman's wit she replied : " Those born to servitude must dress as it shall please those whom they serve ; these are my servants, and I lighten the burden of bondage by every indulgence in my power, but I, who am your slave, 0 Emperor, of the world, must dress according to your pleasure and not my own." The gentle sarcasm pleased the Emperor, and the reconcilia tion was complete. Nur Mahal became the wife of Jehangir, and from the day she was married she virtually took the reins of government into her own hands. A Muhammadan historian writes : " Day by day her influence and dignity increased. First of all she received the title of Noor Mahal, ' Light of the Harem,' but was afterwards distinguished by that of Noor iahan Began:, ' Light of the World.' All her relations and connexions were raised to honour and wealth. . . . No grant of lands was con ferred upon any one except under her seal. In addition to giving her the titles that other kings bestow, the Emperor granted Noor Jahan the rights of sovereignty and government. Sometimes she would sit in the balcony of her palace, while the nobles would present themselves, and listen to her dictates. Coin was struck in her name, with this superscription : ' By order of the King Jehangir, gold has a hundred splendours added to it by receiving the impression of the name of Noor Jahan, the Queen Begam.' On all farmans also receiving the Imperial signature the name of Noor Jahan, the Queen Begam,' was jointly attached. At last her authority reached such a pass that the King was such only in name. Repeatedly he gave out that he had bestowed the sovereignty on Noor Jahan Begam, and would say, I require nothing beyond a sir of wine and half a sir of meat.' It is impossible to describe the beauty and wisdom of the Queen. In any matter that was presented to her, if a difficulty arose, she immediately solved it. Whoever threw himself upon her protection was preserved from tyranny and oppression ; and if ever she learnt that any orphan girl was destitute and friendless, she would bring about her marriage, and give her a wedding portion. It is probable that during her reign no less than 500 orphan girls were thus married and por tioned." After leaving the tomb of Itimad-ud-Daula we re-cross the old pontoon bridge, and proceeding down the road which skirts the river we reach the great goal of our pilgrimage—the Taj. No building has been more often described, drawn, and photographed. But no drawing or photograph can give any idea of so rich and poetical a sub ject. No description can shadow forth the whole, combined out of marble dome, fair minarets, and fragrant garden. Words cannot express the multitudinous richness of its ornamentation, perfection of form, and minuteness of decora tion, each lending assistance to the other. This is the true charm of the Taj. It is like unto one of those daughters of the gods who were most divinely fair. It is the fashion now to say that the Taj is lacking in strict architectural beauty. A well known writer states : " The truth is that the Taj is not an architectural group altogether satisfactory." No doubt in parts of the Taj genius is brought into jeopardy by unskilfulness but the divine gift prevails. If a man possesses the sentiment of form the Taj will please him. As we sit on the steps of one of the minarets in the cool air of the evening and gaze upon the marble dome, and the smooth, broad front of marble, warm in the rays of the setting sun, across the memory comes Keats' line—" In form and shape, compact and beautiful." What has been said of Keats' St. Agnes Eve may be applied to the Taj—" A monody of dreamy richness."