184 
stone carving with architeoture has not yet been 
attempted; though it is very suitable for the deco- 
ration of the interior of small buildings atleast; and 
its introduction some time or other is not unlikely. 
But the other two industries are primarily and es- 
sentially architectural; and any specimens utilised 
for another purpose must only be regarded in the 
light of samples. 
The origin of the eclectic school of arohiteeture 
prevalent to this day in Upper India is to be found 
in the adaptation of the old Pathan ideas to the 
habits of Hindoo workmen. Like English Gothic, 
Hindoostanee arohiteeture has had five periods; 
although, unlike English Gothic, it is still a living 
art. And the five periods are chiefly marked out 
one from the other by the presence or ahsence of the 
influenee of the unoriginative but patient craftsmen 
of allen blood and pagan creed, who lent their cheap 
yet precious labour to the works of their Moslem 
masters, and who are still working out the problems 
suggested by that most fortunate combination. 
Ist Period.— The foundation of the School of 
which I am speaking inay he assigned to the Ghori 
conquerors, the first fine product of the eclectic archi- 
tecture of Hindoostan being the tomh of Altumsh 
at old Dehli. This monument, built ahout A.D. 1235, 
Stands at the N.W. corner of the Great Mosque 
attached to the Kootub Minar, and is considered by 
Mr. Fergusson (II. 651) to be one of the richest 
examples of Hindoo art applied to Mohammedan 
purposes that Dehli has to show. He adds, however, 
that the builders still display a certain degree of 
inaptness in fitting the details to their new uses. 
It has no roof; and it may be douhted if it was ever 
intended to have one.* The walls are seven feet 
in thickness; and the interior forms a square of 
over twenty-nine feet, the panels of which are beauti- 
fully decorated. The same authority speaks of this 
period as remarkahle rather for a Stern severity of 
style and gloomy appropriateness than for the lighter 
graees of architectural design. 
2nd Period.—After lasting about a Century this 
style gave way to the second period, that of mereased 
gloom and hardness ; and the rüde grandeur spoken 
of by Fergusson at page 653. Specimens of this are 
tobe found in the tomb ofToghluk Shah (outside 
the S. wall of the ruined city of Toghlukabad, some 
ten miles S. of modern Dehli, or Shah Jahanabad) 
and the Kala or Kulan Musjid (near the Toorkman 
gate of the modern city). These buildings are in 
fine taste ; and though severely simple do not entirely 
disdain the use of colour. In the tomh of Toghluk 
particularly, good use is made of “ bands and borders 
“ of white marhle on the large sloping surface of red 
stone. The horse-shoe arches are of white marble, 
“ and a broad band of the same goes completely 
“ round the building at the springing of the arches. 
“ Another broad band of white marble, in upright 
“ slabs four feet in height, goes all round the dorne 
“ just ahove its springing.”— (Cunningham.) The 
mosque is believed by the same eminent authority to 
have been entirely covered with a coating of coloured 
plaster, most of which has now fallen off. 
3rd Period.—It is the period beginning with the 
short Sur dynasty in 1540 that we find colour first 
introduced, generally and boldly. The System of 
encaustic tiling had been introduced about the end 
* General CunniiiKham considers it was eertainly roofed * with 
an overlappmg Hindoo clome.” 
of the thirteenth Century in Persia, where the ruined 
Mosque of Tabreez is said still to glow with a most 
elaborate play of pattem and of hue. The first fine 
specimen of this art in Upper India seems to he the 
Killa Kona Mosque in the Poorana Killa, which was 
the citadel of Sh er Shah’s city, just outside the 
“ Dehli Gate,” of the modern town. This building 
exemplifies the words in which Fergusson descrihes 
this brief but splendid period;— 
“ The fa9ades .... hecame more ornamental, and 
more frequently encrusted with marbles, and always 
aüorned with sculpture of a rieh and beautiful char- 
acter; the angles of the building relieved by little 
kiosques .... but never with minarets which, so far 
as I know, were not attached to Mosques during the 
1 athan period (p. 6o5). Coloured tiles were now 
fieely employed ; and the style is altogether remark- 
ahle as the natural precursor of the existing school 
Ath Period. The Moghul School of Hindoostanee 
arohiteeture, the basis of modern practice, arose under 
Akber, the celehrated grandson of the Conqueror 
Baber, in the time of whose incapable son the brief 
dynasty and school ahove referred to had flourished. 
The new school differs from its predecessor in two 
tlnngs chiefly :— 
j , The em Pl°yment of Hindoo treatment, which 
had been accidental, capricious, and fluctuating, was 
undertaken on a declared System of eclecticism and 
amalgamation. 
2. The effects of colour were much holder than 
heretofore, and variegated marbles were generally 
used in place of encaustic tinting. 
As long as the Musulman adventurers maintained 
a close connexion with Central Asia, India was no 
more to them than England to the Dukes of Nor 
mandy in the 1 Ith and 12th centuries. Baber was 
huned at Cabool; and it was in that country and 
in Persia that his wandering son naturally sought 
repose when Stier Shah was too strong for him at 
Agia and Dehli. But in the course of thesc wan- 
derings Humayun hecome the father of the great 
Akber. He saw from the first, young as he was on 
his accession, that to make his Position permanent 
he must root it in the soil. Cutting off, therefore, 
all communication with the ancient seats of his dy 
nasty, and sternly suppressing the individuality of 
the Immigrant nobles, he set on foot a complete 
amalgamation, social and political. He took a wife 
frpuhAhe purest Rajpoot hlood; he created a hatch 
°l vl 00 g ra ndees or peers; he endeavoured to 
abolish all that was most exclusive in the creed of 
Islam; and he raised the people of the whole country 
from the condition of tribute-paying Helots to that 
of an emancipated and protected Community. 
It was under such influences that the arohiteeture 
of Hindoostan entered upon its most famous epoch, 
and its most brilliant productiveness. Retaining all 
that was graceful and bright in the arohiteeture of 
the later Pathans, the Moghuls at first deferred in 
details entirely to the habits of the Hindoo workmen 
whom they not only employed as agents but accepted 
as associates. The result was most successful. In 
many of the buildings so constructed the principles 
that had spread from Byzantium to the East were 
freely adopted ; the vaulted roof, the lofty arch with 
true voussoirs and key-stone, were often necessitated ; 
but there are edifices of this period, neither rare nor 
unimportant, where the arch and cupola are rigidly 
excluded, and where nothing remains to remind the