186
Word has already its well-defined and well-known
applieation, while Hindoostanee inlaying is properly
architectural rather than pictorial, and is not pro-
duced by tesselation but by the insertion of large
masses of jewel into blocks of white marble so as to
form geometrical patterns rather than pictorial
designs, it is well to leave the term as we find it.
I propose to call Indian inlaying by the name of
“ Indian pietra dura.”
This form of the art is peeuliar to modern India,
and in India to the particular region with which this
paper is concerned. Besides the use of enamelled
tiles, the Indian Mahometans adopted early the
applieation of eoloured stones, gradually elaborated
from the simple courses of Toghluk’s tomb to the
minute decoration now in vogue. The art in its
best condition is commended by Fergusson as “ the
“ great characteristic of Moghul architecture after the
“ death of Akber.” As to who introduced it au-
thentic history is silent. It first appearance may per
haps be cited in the gate of Akber’s tomb at Sikan-
dra. Twenty years later it appears, still in coarse and
purely arabesque patterns, on the tomb of Itmad-
ood-Dowlah. Tradition says that its first develop
ment in the time of Shah Jahan was due to Persian
artists; and this synchronizes with the arrival at
that monarch’s court of the distinguished amateur
Ali Murdan Khan, the designer of the Dehli Palace
and of the canal that supplied it with water. Up to
this time the geometric traceries of the early inlayings
are seen timidly borrowing a few floral forms—wit-
ness Shah Jahan’s Palace in the Agra Fort. Im-
mediately after, however, appears the full introduction
of flower-work in the screen that surrounds the
tombs in the Taj Mubul; and the vexed question
arises, How was this revolution accomplished, and
bywhom? In the ten years that elapsed between
the Fort buildings and the work at the Taj what
influence had introduced an attempt at realization
of leaves, stalks, and petals which, if not happily
arrested, would perhaps have degenerated into a
mongrel and rococo style ?
I think it probable that the traditional belief, that
European taste is here answerable, is not wholly un-
founded. The Taj was designed by Eesa Eifendi,
a Constantinople Turk, and the Palace at Dehli
decorated by Austin de Bordeaux, an accomplished
French adventurer. That Byzantium was the home
of true Mosaic is well-known, and the kindred art
had beeil in vogue for about eighty years previous
in Northern Italy, with which Austin was doubtless
acquainted.* It is thus deseribed in Sir D. Brews-
ter’s Encyclopaedia:—
“ Analogous to Mosaic is the pietra dura of Flo-
“ rence, which consists of irregulär portions of hard
“ stones, containing the gradation of colours in each,
“ instead ofobtaining that gradation by the union of
“ multiplied fragments.” This, it may be observed,
is an almost exact definition (as far as it goesj cf
the modern Indian pietra dura as seen in the screen
of the Taj and its reproductions of to-day. And
the three and a half flowers still pointed out by the
curators as the work of the “ master’s ” own hand
have effects of shadow and of reversed leaf-ends in
* Tbere was formerly a good deal of work attributed to Austin
at Debli, including pietra pictures of birds, beasts, and his own
likeness in the cliaracter of a long-haired Orpheus playing on
the violin. Fortuuately the dignity of the Taj was not com-
promised by any such realistic efforts.
this style which exceed the limits of the pure con-
ventional.*
However originated, this work is now practised
chiefly by Hindoos. A few Musulmans at the Taj
maintain an unsuccessful rivalry with the more
painstaking workmen of indigenous blood; but they
have never—as far as I am aware—exhibited, while
the two Hindoo artists already mentioned have been
honourably noticed and rewarded with medals, both
in Indian and European exhibitions.
The practice of their art is very simple. The
master-workman traces with delicate exaetness a
pencil outline of the design to be produced upon
a slab of the whitest Jaipoor marble. The slab is
then handed over to one craftsman, and a Collection
of jeweis to another. The chief jeweis used are
Agate, Cornelian, Jasper, Blood-stone, Lapis Lazuli,
and Turquoise. Each piece has its bed prepared on
the master’s tracing on the surface of the slab, while
it is shaped by the associated workman. As each
piece is ready it is handed to the inlayer, who fits it
into its place with a cement of white lime. It is
then covered with a small piece of glass, over which
is laid a fragment of burning charcoal. When the
annealing process is complete the glass is removed;
and, when the whole design has been inlaid in this
manner, the surface is rubbed over with a polishing
powder and the work is ready. When the Cutter
and the inlayer have done their respective offices with
due skill, no trace of the annealing is perceptible.
In second-class work a small rim of cement may
always be detected by its greater whiteness, separa-
ting the precious stone—whatever it be—from the
bed of marble.
As to the uses of this art it has been already shown
that it is essentially architectural. The jambs of
great portals in a Moghul tomb, the piliars of a
l’alace-hall, should have their borders of bold ara
besque. The panels of the inferior admit of the
more delicate floral tracery of the later school. But
this, the original and legitimate applieation of the
art, is in abeyance. Europeans are too unsettled
and the wealthy natives too negligent to allow of
their dwellings being beautified by this costly method.
The patient workmen therefore have turned their
attention to making smaller specimens of their art,
which is now chiefly confined to tables, inkstands,
trays, plates, and paper-weights. The time required
to mature even these comparatively unimportant
works is still considerable, and the prices commanded
are not small. An average fable will take two men
from six to twelve months to complete; and when
the value of the materials is taken into considera-
tion, will not perhaps appear too expensive at a cost
of from 30/. to 100/., according, of course, to the
amount of labour and material.f
The other characteristic stone industry of Agra and
its neighbourhood is called Jalee. ' On the carved
tracery of this part of India Mr. Fergusson only
remarks;—
“There are some exquisite specimens of tracery
“ in marble at Agra and Dehli, but none quite equal
* It is to be observed that, though Bernier does not notico
the inlaid work at Dehli he particularly compares that of the
Taj to the pietra of the Medicean Chapel. “ Yousee suchsort of
" stones as are employcd to enrich the chapel of the Great Duke
of Florence.” But ho does not notice the floral screen. Is it
possible that this and the work at Dehli were added, after his
visit to Aurungzeb ?
t The mural pietra dura of the palace of Shah Jahan in Agra
Fort is also being restoredby these menat the Charge and under
he Orders of the British Government.