The gateway forms a grand frame, the scimitar crossing the dome just touches the keystone of the arch, and the sides seem to widen out just enough to admit of a complete view of the furthest outlying cupola and tower. The first startling effect of dazzling brilliancy is very great, and deep, and lasting. It is here that the Taj became indelibly imprinted on my memory. It is as seen from here that I always recall its now familiar lines.
The stupendous marble dome, crowned with the golden scimitar, is the central object, the first that absorbs the attention of the eye; but gradually the towers and the cupolas around the dome begin to be recognized—to force themselves into the picture. We see that the irregularity of their number is caused by the foreshortening of those on the further side, making them appear in between the fixed four square lines of the others. There are four, like outlying sentries, guarding the marble platform, and four others rise from the platform, from whence in its turn springs the dome.
The Taj Mahal, Agra.
Page 312.
Then you glance at the exceeding beauty of the idea, that has planned the effect of the cypress avenue, the paved walks bordering the strip of water, that all converge, and lead the eye up to the chabutra, or vast marble platform, whereon stands the Taj. There are no steps in this platform, no visible means of approach.
The three archways under the dome are recessed, and in them the carving is so pure and delicate that even from this distance it looks like the carving on one of those ivory caskets from China. The perfection of finish is astounding. Then, even as we look, the picture is enhanced by some specks of bright colour, which stream out of the shadow of the doorway, some women with saris of peacock-blue, and sea-green, and salmon-pink, tender tints giving a flash of life and light to the silent and awing grandeur—almost sternness, I had said, of the cold marble.
As you approach, as you reach a middle distance, the Taj loses in effect; but here the cruciform pavements meet, and your attention is diverted to two red gateways at the ends amongst the trees. Thus you have behind you the great gateway; on either hand these smaller ones complete the square; whilst before you are the still unexplored mysteries of the Taj.
As we emerge up through the opening on to the great chabutra, blinded by the dazzling brightness of the sun on the marble, which seems to collect and radiate every ray of sun about itself—it is like the purity of driven snow on mountain heights. As we stand under the semi-dome of the entrance, in its relieving shadow, we are conscious of a work almost too superhuman for humanity.