The greatest defect of the palace is that the style, when it was erected, was losing its true form of lithic propriety. The form of its pillars and their ornaments are better suited for wood or metal than for stone architecture; and though the style of the Moguls, in the last days of their dynasty, was tending in that direction, it never threw off the solidity and constructive propriety to such an extent as is done in these modern palaces of the Hindus. It is not at Deeg carried so far as to be offensive, but it is on the verge of good taste, and in some more modern buildings assumes forms more suited for upholstery than for stone architecture.
Since the time when Sûraj Mull completed this fairy creation, the tendency, not only with the Rajput princes, but the sovereigns of such states as Oude, and even as Delhi, has been to copy the bastard style of Italian architecture we have introduced into India. It was natural, perhaps, that they should admire the arts of a race who had shown themselves in war and policy superior to themselves; but it was fatal to their arts, and whether a revival is now possible remains to be seen. It might be so, if their rulers showed the smallest possible appreciation of the works of their ancestors, but can hardly be hoped for while a department of the state is organised, as they must believe, for the express purpose of destroying and obliterating all traces of what was once noble and beautiful in the land.
Ghâts or Landing-places.
Another object of architectural magnificence peculiar to northern Hindustan, is the construction of the ghâts that everywhere line the river-banks in most of the great cities, more especially those which are situated on the Ganges. Benares possesses perhaps the greatest number of edifices of this class; but from Calcutta to Hurdwar no city is without some specimens of this species of architectural display. The Ghoosla Ghât at Benares ([Woodcut No. 273]), though one of the most modern, may be taken as a fair specimen of the class, although many are richer and much more elaborately adorned. Their object being to afford easy access to bathers, the flight of steps in front is in reality the ghât, and the main object of the erection. These are generally broken, as in this instance, by small projections, often crowned by kiosks, which take off the monotony inherent in long lines of narrow steps. The flight of stairs is always backed by a building, which in most instances is merely an object of architectural display without any particular destination, except to afford shelter from the rays of the sun to such of the idle as choose to avail themselves of it. When the bank is high, the lower part of these buildings is solid, and when, as in this instance, it is nearly plain, it affords a noble basement to an ornamental upper storey, with which they are generally adorned, or to the temple which frequently crowns them.
273. Ghoosla Ghât, Benares. (From Prinsep’s Views.)
Though the Ganges is, par excellence, the river of ghâts, one of the most beautiful in India is that erected by Ahalya Baiee (Holkar’s widow) at Maheswar, on the Nerbudda; and Ujjain and other ancient cities almost rival Benares in this respect. Indeed, there is scarcely a tank or stream in all India that is without its flight of steps, and it is seldom indeed that these are left without some adornment or an attempt at architectural display, water being always grateful in so hot a climate, and an especially favourite resort with a people so fond of washing and so cleanly in their habits as the Hindus.
Reservoirs.
The same fondness for water has given rise to another species of architectural display peculiar to India, in the great reservoirs or bowlees, which are found wherever the wells are deep and water far from the surface. In design they are exactly the reverse of the ghâts, since the steps are wholly below the ground, and descend to the water often at a depth of 80 ft. or 100 ft. Externally they make no display, the only objects usually seen above ground being two pavilions to mark the entrance, between which a bold flight of steps, from 20 ft. to 40 ft. in width, leads down to the water. Facing the entrance is a great screen, rising perpendicularly from the water to the surface of the ground, and dividing the stairs from a circular shaft or well, up which the water is drawn by pulleys by those who prefer that mode of obtaining it instead of descending the steps. The walls between which the steps descend are ornamented by niches, or covered with galleries leading to the great screen. Where the depth is great, there is often a screen across the stairs about half-way down.