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."
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.