If mass and richness of ornamentation were in themselves sufficient to constitute architecture, few capitals in India could show so much of it as Lucknow. It is, in fact, amazing to observe to what an extent this dynasty filled its capitals with gorgeous buildings during the one short century of its existence, but all—or with the fewest possible exceptions—in the worst possible taste. Whatever may be said of the Renaissance, or revival of classical architecture in Europe in the 16th century, in India it was an unmitigated misfortune. The unintelligent vulgarity with which the “Orders” are there used, by a people who were capable of such noble things in their own styles, is one of the most startling phenomena in the history of architecture. The subject hardly belongs to this work, and has already been treated of in the ‘History of Modern Architecture.’[562]
Even at Lucknow, however, there are some buildings into which the European leaven has not penetrated, and which are worthy of being mentioned in the same volume as the works of their ancestors. Among these is the great Imambara, which, though its details will not bear too close an examination, is still conceived on so grand a scale as to entitle it to rank with the buildings of an earlier age.
As seen by the plan of the Imambara ([Woodcut No. 343]), the principal apartment is 162 ft. long by 53 ft. 6 in. wide. On the two sides are verandahs, respectively 26 ft. 6 in. and 27 ft. 3 in. wide, and at each end an octagonal apartment, 53 ft. in diameter, the whole interior dimensions being thus 263 ft. by 145 ft. This immense building is covered with vaults of very simple form and still simpler construction, being of a rubble or coarse concrete several feet in thickness, which is laid on a rude mould or centering of bricks and mud, and allowed to stand a year or two to set and dry. The centering is then removed, and the vault, being in one piece, stands without abutment or thrust, apparently a better and more durable form of roof than our most scientific Gothic vaulting; certainly far cheaper and far more easily made, since it is literally cast on a mud form, which may be moulded into any shape the fancy of the architect may dictate.
343. Plan of Imambara at Lucknow. (From Measurements by the Author.) Scale 100 ft. to 1 in.
It would be a curious and instructive subject of speculation to try to ascertain what would have been the fate of Mahomedan architecture in India had no European influence been brought to bear upon it. The materials for the inquiry are not abundant, but we can perceive that the decadence had set in long before the death of Aurungzebe. It is also evident that in such buildings as were erected at Agra or Delhi during the lapse of the 18th century, even where no European influence can be traced, there is a feebleness and want of true perception, though occasionally combined with a considerable degree of elegance. There, however, the inquiry fails, because European influence made itself felt before any actual change had developed itself, but in remote
344. Tomb of the late Nawab of Junaghur. (From a Photograph.)