INDIA. At the same time Mohammedan art received a great hnpettis in India through the establishment of the Mogul supremacy (1526), and produced a style that was in many ways the most artistic and the grandest in the whole sphere of Mohammedan architecture. Buildings like the mosque and tomb of -Mahood at Bijapur. the mosques at Fathipur, Sikhri, Agra, and Delhi, the palace of Akbar at Alla habad, and the Taj Mahal at Agra are master pieces. There is undoubtedly a dependence on the art of Persia in the shape of the pointed arches and domes, and in the niche facades, as well as a knowledge of the Turkish adaptation of the Saint Sophia type, but these Indian archi tects showed a surpassing sense of composition and effectiveness, never allowing. as the archi tects of Emit and Spain so often did, the loge of detail to beeorne paramount.
Finally, when the Turks Captured Constanti nople (1453) they adopted the Byzantine style and specifically that of Saint Sophia, which be came their chief mosque. They never knew- the old
type of cloistered mosque, lint only great domi cal. fully vaulted interiors. The architects they employed were Christian Their mosques have ever since been mere repetitions of Saint Sophia on a smaller scale. But some of them have great merit of dignity and composition and some originality in the exterior treatment; for example, the mosque of Mohammed II., which has four semi-domes grouped around the central one, hut especially the Sulaimaniyyah mosque (1553). These have alternating white and black marbles' in the interior voussoirs. and the simple bril liancy of the surfaces gives quite a different effect from a Byzantine interior. For details regarding special classes of building- and the delightful domestic architecture of the see special articles, such as CARAVANSERAI; FOUNTAIN; BAZAR; TEKIYE ; NINARET MOSQUE,