Chapter 5
The Fifty-fourth Regiment marched to the relief, but most of the officers were shot, and the native soldiers refused to act,--a precedent followed by the natives of other regiments; thus the rebels were largely reinforced, and they soon had complete possession of the fort, which was then well garrisoned by native officers who were thoroughly trained in English tactics. The mutiny was now complete, and English rule for the time being ceased; disturbances also spread to Agra, Cawnpore, and Lucknow, so the army was necessarily divided; however, the bravery of the British forces at Delhi was such that by May 20th the fort and palace had been regained. The King was captured before Humayun's tomb (outside the city), and, the King's sons surrendering, they were shot in front of the Delhi gate of the fort. The victory, nevertheless, was only won through the sacrifice of many lives, the loss of officers being particularly heavy; the city also suffered greatly from the siege, and the beauty of the fort and palace was much impaired.
There are two fine gates to the fort,--the Lahore on the west side, and the Delhi on the south side,--both built by Shah Jahan, between 1638 and 1648. The fort is encircled by a massive red sandstone wall; we passed through the grand archway of the Lahore gate, into a vaulted arcade which Mr. Ferguson (the famous authority on architecture) considers the noblest entrance known to any palace. The arcade ends in the centre of the outer main court, measuring five hundred and forty by three hundred and sixty feet; the inner court is somewhat larger and is surrounded by cloisters or galleries. On the farther side of this inner court is the fine Hall of Public Audience, Diwan-i-Am, one hundred by sixty feet, where the proportions and the arrangement of columns and arches are perfect. At one end of this hall is a raised recess in which the Emperor used to be seated on the famous Peacock Throne, which Nadir Shah carried to Persia; before the throne, and lower, was the seat occupied by the prime minister, while above it were placed the inlaid panels by Austin of Bordeaux.
The hall was restored under the direction of the late viceroy, Lord Curzon, and we saw Florentine artists renewing the inlaid work in the panels. The remarkable throne was six feet long and four feet wide; it stood on six massive feet, which, with the body of the chair, were of solid gold, inlaid with rubies, emeralds, and diamonds. The throne took its name from having the figures of two peacocks standing behind it, their tails extended, and the whole so inlaid with sapphires, rubies, pearls, emeralds, and diamonds as to be lifelike in its color. All this was surmounted by a canopy of gold, and supported by twelve pillars, richly emblazoned with gems, while a fringe of pearls ornamented the edge of the canopy. There were still more costly adjuncts, but these details must suffice; it is needless to add that the loss of the throne was considered a national calamity.
A gate on one side of this hall led to the inner court of the palace, and to the Hall of Private Audience, or Diwan-i-Khas, which is among the most graceful assembly rooms in the world. It is ninety by sixty-seven feet, and is built entirely of white marble, inlaid with precious stones; at either end of the hall is the famous Persian inscription:
"If heaven can be on the face of the earth, It is this, oh! it is this, oh! it is this!"
Not far removed from here are the royal apartments, consisting of three suites of rooms, with an octagonal tower projecting over the river Jumna. These rooms are all finely decorated. Beyond them are the Rang Mahal, or Painted Palace,--the residence of the chief Sultana,--and the royal baths, consisting of three large rooms fitted in white marble, elaborately inlaid. Opposite to this is the Moti Musjid, or Pearl Mosque.
There are more buildings that could be described, but some were injured at the time of the mutiny, and others have since been removed, presumably in the interest of modern requirements.
We made our exit through the Delhi gate; between the inner and outer arches stand the Chettar elephants which were replaced by order of Lord Curzon. The Jumma Musjid is raised on a lofty basement; it has three gateways, four corner towers, two lofty minarets, and three domes. We ascended one of the towers and had an extended view; inside there is a spacious quadrangle, three hundred and twenty-five feet square, in the centre of which is a fountain for ablution; and on three sides there are sandstone cloisters. An immense concourse of people assemble here for prayer every Friday; the mosque in arrangement is very similar to the congregational mosques of Cairo.
The Kalun Musjid, usually called Black Mosque, dates from 1386. It is of peculiar construction, having two stories, and is somewhat Egyptian in appearance. A Jain temple was so hemmed in by streets that its appearance was much impaired, but the interior was beautiful in design and finish.
The street known as Chandni Chauk fully sustained its reputation as a shopping centre; it is over a mile in length and is always a scene of sparkle and commotion; on it were the usual bazars, but also many larger stores, as Delhi is considered the finest shopping point in India, particularly in precious stones,--jewelry being the commodity most heralded, as we learned to our sorrow.
On arriving at Maiden's Hotel (under English management, but semi-Oriental in its arrangement), we complacently viewed our rooms on the second floor, opening upon a gallery and overlooking a large court. Here at last, so we thought, was a haven of refuge from jewelry intruders, but, alas! we were no sooner located than they appeared,--not the impecunious class, but dealers with shops and a bank account,--bringing with them a vast array of really beautiful gems, which were tempting but high-priced. To say that, on an average, three of these men knocked at our door during the morning bath, while as many were waiting for us at the luncheon hour, literally camping out on the balcony during the evening hours, is no exaggeration. Then the cards they presented, the insinuations they indulged in with regard to the other man's goods (who was waiting outside)! It really was amusing, but it grew tiresome, and was demoralizing, because one was compelled to "bargain" if anything was purchased at all, the first scale of prices being purposely exorbitant.
A day's visit to old Delhi was most interesting; it is a ride of eleven miles to Kutub Minar, through sand and debris, comprising a portion of an area of forty-seven miles, covered with the remains of seven, once prosperous, cities. Several of the ruins were of interest, and they had a history, but I will describe only the well-preserved mausoleum of Emperor Humayun, which gains in importance from having been the model of the Taj Mahal at Agra. It stands on a lofty platform of red sandstone, and consists of a large central octagon, surmounted by a dome with octagon towers at the angles; the red sandstone exterior is artistically picked out in relief with white marble. The windows are recessed, and the lower doors are filled with beautiful lattices of stone and marble. In the centre of each side of the main octagon is a porch, forty feet high, with a pronounced pointed arch. The cenotaph of the Emperor is of white marble, without any inscription; his wife and several other persons, including two later Emperors, are buried here also. As was quite the custom of the time, the tomb is surrounded by a garden of thirteen acres. Farther on, was the Tomb of a Saint, a perfect gem! It is built of white marble, is eighteen feet square, and is surrounded by a broad veranda. Around the covered grave there is a low marble rail, and over it a beautiful canopy, inlaid with mother-of-pearl; in the walls are finely pierced screens. Near this tomb is a handsome red sandstone mosque, called Jumat Khana, and in the vicinity are a number of other important tombs of artistic design, two having elaborately carved marble doors, the design being like lacework.
The culmination of the morning's trip was at the Kutub Minar enclosure; the magnificent ruined Mosque of Kuwat-ul-Islam occupies a large portion of the space, and dates from the latter part of the twelfth century. The main entrance was through an arched doorway, the courtyard was surrounded by cloisters formed of pillars purloined from Jain temples and piled one upon another. Most of them are richly ornamented, although many have been defaced.
The famous Hindu Iron Pillar stands in front of the ruin; it is one of the most unique antiquities in India, and is a solid shaft of wrought iron, twenty-three feet, eight inches high and sixteen inches in diameter; it has a deeply cut Sanskrit inscription, and is so individual in its character as to prove a distinct reminder of a decayed past.
The most prominent feature of the landscape is Kutub Minar, rightly named the Tower of Victory. Some have thought it of Hindu origin, but the now accepted opinion is that it was built by the Moguls, after the conquest. It is two hundred and thirty-eight feet high, and has five stories with balconies, each story being decorated with bands of inscriptions. The first three stories are of red sandstone and are fluted; the two upper stories are of white marble and have been restored. The diameter of the first story is forty-seven feet, three inches; that of the upper story, nine feet; three hundred and seventy-nine steps lead to the summit, and ninety-five steps lead to the first gallery, from both points of which we obtained a fine view of ruins in every direction.
Tughlakabad lies five miles east of Kutub Minar; the fort is so high and massive as to be seen long before the point is reached. The enclosure covers nearly four miles and contains a ruined mosque and palace. Outside the wall is the tomb of Tujlak Shah; it is situated in an artificial lake, and is connected with the fort by a causeway, six hundred feet long and supported on twenty-seven arches.
Of this tomb Mr. Ferguson says: "The sloping walls and almost Egyptian solidity of this mausoleum, combined with the bold and massive towers of the fortifications that surround it, form a picture of a warrior's tomb unrivalled anywhere."
The day's experience included luncheon at a "rest house" near Kutub Minar; this term applies to a simple semi-hotel, provided by the Government for the convenience of members of the military and civil service and their families; it is situated in places where there are no hotel facilities, and, when unoccupied, the public may share in the convenience.
The long, intensely dusty ride to Delhi,[2] past ruin after ruin, gave us leisure to reflect on the ravages of time and the mutability of all earthly things.
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.
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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."
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.
The garden was redeemed from a hopeless tangle (into which it had fallen), under the direction of Lord Curzon, who did so much to stay ruin and devastation. It is laid out in a conventional style, one square being devoted to roses, another to poinsettia, while long stretches of foliage plants here and there, with a mass of dark green cypress trees, give it a breadth of view that is enhanced by a marble avenue, leading from the entrance to the tombs, the sweep of avenue being broken midway by a marble seat from which a fine view of the Taj is afforded. Running parallel were marble aqueducts which contained, at set intervals, playing fountains; these were inactive, however, at the time of our visits. One could return to the Taj day after day, as the subtle influence of its beauty and its spiritual significance are ever present. Sad indeed was the fate of the builder, Shah Jahan, who ruled from 1620 to 1658 and who was then deposed by his son, Aurangzeb. The latter transferred the capital to Delhi, causing his father to languish seven long years in a small suite of rooms in the palace at Agra as a prisoner, his only companion a devoted daughter.
While the centre of attraction in Agra is the Taj Mahal, the fort, palace, and Moti Musjid (Pearl Mosque) are of equal interest. Here we see the impress of three rulers, Akbar (the grandson of the noted Mogul king, Baber, and son of Humayun, both of whom lived at Agra), Jahangir, his son, and Shah Jahan, his grandson.
Akbar removed to Agra, from the old capital Fatehpur-Sikri, about 1568, but the only monuments that are now attributed to him are the massive walls of the fort and the red palace. Jahangir built the palace which bears his name, but as it is somewhat gloomy in appearance, his chief claims to distinction as a builder are the tombs of Itimid-ud-Daulah and Akbar's tomb at Sikandra. Shah Jahan built the palace which contains the beautiful Diwan-i-Am, or Hall of Public Audience; the Diwan-i-Khas, or Hall of Private Audience; the Shish Mahal, or Mirror Palace; the Saman-Burj, known as the Octagon, or Jasmine Tower; the Mina Musjid, or Gem Palace (the private mosque of the Emperor); with many other notable edifices. The Moti Musjid, or Pearl Mosque, is furnished with a superb exterior setting.
Having described similar halls in the palace at Delhi, I will only briefly enumerate some distinguishing features of each of the buildings just mentioned. All were either injured or defaced in the mutiny conflict of 1857, which raged in Agra from May 10th to October 10th, six thousand women and children, with a few men, having found a refuge there during the siege. A feature of the Public Audience Room is a grille in the back wall, through which the Sultanas or members of the Zenana could watch the proceedings below; and in the centre of the hall is a raised alcove of white marble, richly decorated in low relief.
The Hall of Private Audience consists of an open colonnade in front of an enclosed room at the back. The illustration shows the front overlooking the court, while beyond is the Octagon Tower, the residence of the chief Sultana. In the court a portion of the marble pavement is made to represent a pachisi or chess board, and it is said the game was played with slave girls, who were used instead of the customary chessmen. The Octagon Tower is built out over the river Jumna, as will be seen in a later picture.
The portion known as the Mirror Palace is unique, as it consists of two dark rooms furnished with fountains and an artificial cascade arranged to fall over lighted lamps. The walls and ceilings are decorated with innumerable small mirrors which were restored in 1875. The palace measures seventy by forty feet, and is built at the east end of a garden two hundred and fifty feet square, planted with flowers and shrubs. Underneath the structure are subterranean apartments for use during the summer heat, and from here passages lead to still cooler rooms in another portion of the fort.
In the southeast corner of this Anguri Bagh, or garden, are three finely decorated rooms which were once the private apartments of Shah Jahan. The Jahangir Mahal, or palace, is noticeable on account of the bright red tiles used in the upper portion. It also has a fine domed hall which leads into a large central court.
But the crowning single feature in this fort (which is over a mile in extent) is the Moti Musjid, or Pearl Mosque. Mr. Ferguson considers it to be "one of the purest and most elegant buildings of its class to be found in the world." It ranks next to the Taj Mahal among Shah Jahan's creations. The entrance gateway is of red sandstone and is approached by a lofty double staircase. The exterior is faced with slabs of red sandstone, but the interior is built of marble, white, blue, and gray veined. The courtyard of the mosque is deservedly celebrated. In the centre is a marble tank for ablutions, and a marble cloister runs around three of its sides. A flight of steps leads to the roof of the mosque, from which a fine view is obtained.[3]
A pleasant excursion across the river led us to the tasteful tomb of Itimid-ud-Daulah. The entrance gate is fine, and the approach through spacious, well-kept grounds gives one a wide perspective. The façade is of marble with considerable inlaid work. Itimid-ud-Daulah was a Persian High Treasurer, and the grandfather of the Lady of the Taj. The tomb was built by Shah Jahangir, as was that of King Akbar at Sikandra, five miles distant from Agra and a delightful excursion to make. It has an imposing gateway and is situated in the midst of a veritable park. It is of red sandstone, inlaid with white marble, and is a pyramidal building, four stories high, the first three being of red sandstone and the fourth of marble. The base measures three hundred and twenty feet, and the fourth story one hundred and fifty-seven feet (narrow stairways leading upward), which indicates a gradual decrease and tapering in size. A massive cloister runs around the lower story, and the fourth story is occupied by the marble cenotaph of Akbar, directly over the crypt which contains his tomb. The cenotaph is engraved with ninety-nine names of the deity. This story is surrounded by a white marble cloister, and on the outer side of each arch is an oval-shaped recess, filled with delicate lacework carving of varied patterns in marble. The effect is unlike anything elsewhere seen. There are several other historic tombs in the vicinity, and many points of interest all the way to Akbar's old capital, Fatehpur-Sikri. This is twenty-two miles distant, a day's excursion, and easily reached in automobiles; although it took some faith to trust one's self to the rather indifferent chauffeurs.
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