It would be an unpardonable neglect of the maxim which enjoins gratitude to the bridge that carries us safely over were we to complete our tour of the exposition structures without a glance at the graceful erections, diverse in magnitude and design, which overleap the depressions so attractive to the student of the picturesque and so trying to the pedestrian. The æsthetic capabilities of bridge architecture are very great, and a fine field is here offered for their display. The flat expanses of Hyde Park, the Champs de Mars and the Prater could afford no such exhibition. The ground and the buildings became, perforce, two sharply distinct things; and the blending into unity of landscape and architecture could be but imperfectly attained. Here the case is very different. With the aid of an art that embraces in its province alike the fairy trellis and the monumental arch and pilaster, the lines of Memorial Hall and other permanent edifices may be led over the three hundred acres appropriated to the exposition. From the foundation of a bridge-pier to the crowning statue of America, the artist finds an uninterrupted range.
The work of his foster-brother, the artisan, has certainly been well done. The structures we have been traversing are, in their way, works of art—very worthy, if not the choicest conceivable, blossoms of our century-plant. For fitness, the quality that underlies beauty throughout Nature from the plume to the tendril and the petal, they have not been surpassed in their kind. Every flange, bolt, sheet and abutment has been well thought out. Whatever the purpose, to bind or to brace, to lift or to support, everything tells.
SKETCHES OF INDIA.
IV.—CONCLUSION.
The Koutab Minar, which I had first viewed nine miles off from one of the little kiosquelets crowning the minarets of the Jammah Masjid, improved upon closer acquaintance. One recognizes in the word "minaret" the diminutive of "minar," the latter being to the former as a tower to a turret. This minar of Koutab's—it was erected by the Mussulman general Koutab-Oudeen-Eibeg in the year 1200 to commemorate his success over the Rajpút emperor Pirthi-Raj—is two hundred and twenty feet high, and the cunning architect who designed it managed to greatly intensify its suggestion of loftiness by its peculiar shape. Instead of erecting a shaft with unbroken lines, he placed five truncated cones one upon another in such a way that the impression of their successively lessening diameters should be lengthened by the four balconies which result from the projection of each lower cone beyond the narrower base of the cone placed on it—thus borrowing, as it were, the perspective effects of five shafts and concentrating them upon one. The lower portion, too, shows the near color of red—it is built of the universal red sandstone with which the traveler becomes so familiar—while the upper part reveals the farther color of white from its marble casing. Each cone, finally, is carved into reeds, like a bundle of buttresses supporting a weight enormous not by reason of massiveness, but of pure height.
The group of ruins about the Koutab Minar was also very fascinating to me. The Gate of Aladdin, a veritable fairy portal, with its bewildering wealth of arabesques and flowing traceries in white marble inlaid upon red stone; the Tomb of Altamsh; the Mosque of Koutab,—all these, lying in a singular oasis of trees and greenery that forms a unique spot in the arid and stony ruin-plain of Delhi, drew me with great power. I declared to Bhima Gandharva that it was not often in a lifetime that we could get so many centuries together to talk with at once, and wrought upon him to spend several days with me, unattended by servants, in this tranquil society of the dead ages, which still live by sheer force of the beautiful that was in them.
"Very pretty," said my companion, "but not by force of the beautiful alone. Do you see that iron pillar?" We were walking in the court of the Mosque of Koutab, and Bhima pointed, as he spoke, to a plain iron shaft about a foot in diameter rising in the centre of the enclosed space to a height of something over twenty feet. "Its base is sunken deeper in the ground than the upper part is high. It is in truth a gigantic nail, which, according to popular tradition, was constructed by an ancient king who desired to play Jael to a certain Sisera that was in his way. It is related that King Anang Pal was not satisfied with having conquered the whole of Northern India, and that a certain Brahman, artfully seizing upon the moment when his mind was foolish with the fumes of conquest, informed him there was but one obstacle to his acquisition of eternal power. 'What is that?' said King Anang Pal.—'It is,' said the Brahman, 'the serpent Sechnaga, who lies under the earth and stops it, and who at the same time has charge of Change and Revolution.—'Well, and what then?' said King Anang Pal.—'If the serpent were dead there would be no change,' said the Brahman.—'Well, and what then?' said King Anang Pal.—'If you should cause to be constructed a great nail of iron, I will show you a spot where it shall be driven so as to pierce the head of the serpent.' It was done; and the nail—being this column which you now contemplate—was duly driven. Then the Brahman departed from the court. Soon the king's mind began to work, to question, to doubt, to harass itself with a thousand speculations, until his curiosity was inflamed to such a degree that he ordered the nail to be drawn out. With great trouble and outlay this was done: slowly the heavy mass rose, while the anxious king regarded it. At last the lower end came to his view. Rama! it was covered with blood. 'Down with it again!' cries the joyful king: 'perhaps the serpent is not yet dead, and is escaping even now.' But, alas! it would not remain stable in any position, pack and shove howsoever they might. Then the wise Brahman returned. 'O king,' said he, in reply to the monarch's interrogatories, 'your curiosity has cost you your kingdom: the serpent has escaped. Nothing in the world can again give stability to the pillar or to your reign.' And it was true. Change still lived, and King Anang Pal, being up, quickly went down. It is from this pillar that yon same city gets its name. In the tongue of these people dilha is, being interpreted, 'tottering;' and hence Dilhi or Delhi. It must be confessed, however, that this is not the account which the iron pillar gives of itself, for the inscription there declares it to have been erected as a monument of victory by King Dhara in the year 317, and it is known as the Lâth (or pillar) of Dhara."
Next day we took train for Agra, which might be called Shah Jehan's "other city," for it was only after building the lovely monument to his queen—the Taj Mahal—which has made Agra famous all over the world, that he removed to Delhi, or that part of it known as Shahjehanabad. Agra, in fact, first attained its grandeur under Akbar, and is still known among the natives as Akbarabad.