THREE:One of the largest buildings once slid into the river during an earthquake, and stands there complete and unbroken, its magnificence surviving under water. Some minarets only rise above the surface like kiosks, and form a landing-stage, invaded by[Pg 159] the bathers, who wash themselves with much gesticulation, flourishing their long sarongs and white loin-cloths, which they spread out to dry on the steps.In the distance is the great mosque which no unbeliever may enter; the doors stand wide open. The only ornaments on the white walls are the lamps, hung with red. In the court of the mosque,[Pg 97] under magnificent trees, are the tombs of the Nizams, with stone lattices, jewellery of marble, fragile pierced work, whereon wreaths of pale flowers are wrought with infinite grace. Near these tombs are two large fountains, where a crowd of men were bathing, talking very loud; and a large basin of porphyry full of grain was besieged by grey pigeons.
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TWO:We saw the Jasmine tower from a corner of the garden in the glow of sunset. With its gilt cupola blazing in the low beams, its amber-hued walls as transparent as melting wax, and its pierced screen-work, it looked so diaphanous, so fragile, that it might be carried away by the evening breeze. And beyond the pavilion, above the ramparts carved with huge elephants, lies the old Hindoo palace, deserted by Jehangir for his house of pale marblesan endless palace, a labyrinth of red buildings loaded to the top with an agglomeration of ornament supporting flat roofs. And pagodas that have lost their doors, a work of destruction begun by Aurungzeeb. One court is still intact, overhung by seventy-two balconies, where the zenana could look on at the dancing of bayadres. Perfect, too, is the queen's private apartment, with two walls between which an army kept guard by day and by night.
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TWO:In the native town the houses are lower and closer together, without gardens between. Down the narrow streets, between booths and shops, with here and there a white mosque where gay-coloured figures are worshipping, or polychrome temples where bonzes are drumming on deafening gongs, run tramways, teams of oxen, whose drivers shriek and shout, and hackney cabs, jingling and rattling. Among the vehicles there moves a compact crowd of every race and every colour: tall Afghans, in dingy white garments, leading Persian horses by the bridle for sale, and crying out the price; bustling Parsees; naked Somalis, their heads shaven and their[Pg 7] oiled black skins reeking of a sickening mixture of lotus and pepper; fakirs, with wild, unkempt hair, their faces and bodies bedaubed with saffron and the thread of the "second birth" across their bare breast; Burmese, with yellow skins and long eyes, dressed in silks of the brightest pink; Mongolians, in dark-hued satin tunics embroidered with showy colours and gold thread.The heat to-day has suddenly become stifling; the low clouds veil the colourless sun, and the flowers, which yesterday were still lovely, are now[Pg 278] withered and pallid, and only give out their scent in the evening, when it is cool again.
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ONE:Near this tomb is a stele with the dish on the top of it in which the Koh-i-noor was found. In the crypt of the mosque, at the end of a passage, is a vaulted room lined with stucco and devoid of ornament, and here is the burial place of Akbar, a mound covered with lime. The sarcophagus above, at the foot of which the Koh-i-noor once blazed, is but the replica of this.
Jenifer smith
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TWO:Another templecarved and pierced, and loaded and overloaded with ornament. In the crypt was a bas-relief representing the ceremony of marriage: the procession, the couple in front of the altar, the relations sitting round, all alike in the same crouching attitude, like toys set out by a little child. Then the model of a very famous temple elsewhere in India: columns, gateways, statues of the gods, all reproduced with microscopic exactitude down to the minutest details; and surrounding this tiny model a bas-relief of the most bewildering perspectivea plan of Satrunji with its fifty-two principal temples, its trees and sacred tanks; and as a pendant to this representation, a circular carving giving a bird's-eye view of the crowd, the same little doll-like figures[Pg 79] repeated again and again, coming to worship with arms and legs spread out, grovelling, as if they were swimming.
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