Akbar came by the way of the Jamuna and arrived at Agra on Sunday, 17 Muharram 966 A.H. (30^th October, 1558). Abul Fazl, his court historian, notes that "His Majesty the Shahinshah gave celestial rank to the citadel which was known by the name of Badalgarha by his alighting there." Among the principal events of the year 972 A.H. (A.D. 1565). Abul Fazl mentions the founding of the Fort of Agra: "He at this time gave directions for the building in Agra which by position is the centre of Hindustan of a great fortress such as might be worthy thereof and correspond to the dignity of his dominions. An order was then issued that the old fort which was built on the east bank of the Jamuna and whose pillars had been shaken by the revolutions of time and the shocks of fortune, should be removed and then an impregnable fort should be built of hewn stone. It was to be stable like the foundation of the dominion of the sublime family and permanent like the pillars of its fortunes. Accordingly, lofty-minded mathematicians and able architects laid the foundations of this great building in an hour which was supreme for establishing a fortress. The excavations were made through seven strata of earth. The breadth of the wall was three badshahi yards and its height sixty yards. It was provided with four gates whereby the doors of the dominion were opened towards the four quarters of the world. Every day 3,000 to 4,000 active builders and strong-armed labourers carried on the work. From the foundations to the battlements, the fortress was composed of hewn stone, each of which was polished like the world revealing mirror and was ruddy as the cheek of fortune. And they were so joined together that the end of a hair could not find place between them. This sublime fortress the like of which had never been seen by a fabulous geometrician, was completed with its battlements, breast-work and its loop-holes (sang-andaz) in the space of eight years at a cost of thirty five lakhs of rupees under the faithful superintendence of Qasim Khan Mir Barr-u-Bahr."

 

The Fort has an irregularly semi-circular plan with its chord lying parallel to the course of the river. The massive enclosing walls cased with red sandstone are about 70 feet (21.34 metres) high. Double ramparts have been provided with broad massive circular bastions at regular intervals. Finished red sandstone was used on such a large scale for the first time. Though a grand military structure where strength was the foremost consideration, the ornamental aspects has not been allowed to recede into the background. Battlements, embrasures, machicolations, string-courses and such other features have been so designed and disposed as to give the Fort a substantial aesthetic character.

Before the Strand Road (present Jamuna Road) was constructed in 1837, the river touched the Fort. Bathing and landing ghats (quays), ornamented intermittently with towers and chattris, were constructd all along the bank. Some ghats were enclosed for the use of the harem (seraglio). Covered passages were built connecting the ghats with the Fort at the Muthamman Burj postern, traces of which have survived. Abul Fazl records that the Fort contained over 500 buildings after the beautiful designs of Bengal and Gujarat. Some were deliberately demolished by Shah Jahan to make room for his white marble palaces but a large number of them were destroyed by the British between 1803 and 1862 for building barracks and other military installations and it is this way that 30 and odd Mughal buildings have survived in less than 1/10^th portion of the Fort, mainly on its south-eastern side (from the Bengali-Burj to the Khizri-Darwazah) facing the river. A few representative buildings of Akbar have, however, remained along with the original fabric of the enclosing walls. Chief among them are the Delhi Gate the Amar Singh Gate the Akbari Mahal and the Jahangiri Mahal. This massive fort is 2.5 kms. long and is considered as the predecessor of the Delhi Red Fort.

The Red fort at Agra follows the Karmuka type of layout. It is believed that such a town with mighty fortification was meant for kings capital. In plan this great fort takes the form of an irregular semi-circle with its chord some 2700' in length lying parallel to the right bank of river Jamuna. The north-western side is a little smaller than the south-western side which is about half a mile in length. The fort is surrounded by a double wall of red sandstone which is one of its most remarkable feature. The outer wall is 40' high and the inner wall is 70' high. But the walls are crowned by battlements and at fairly regular intervals there are ten flanking towers and bastions. On the river front there are only two bastions called the Shah Burj and the Bengali Burj. The decorative tower in marble called the Muthamman Burj had no military utility and was part of the royal residence.

 

Even though the ramparts were provided to give strength to the fort but the ornamental aspect was not overlooked. Instead both have been harmoniously blended to give the fort a substantial aesthetic character. A broad deep moat running around the fort separated it from the mainland. Moat was not given on the river side as water line was already there.

The fort had four gateways. The Delhi Gate on the western side was the main entrance to the fort. There was another gateway towards the south which is known as the Amar Singh Gate or Akbar Darwazah. Today the visitors to the fort use this gateway. The gateway on the east was known as the Jal Darwazah. This was a private gate facing the river and was used by the women of the harem to go outside without being seen. There was another fourth gateway on the north-eastern side. Both these gates are closed.

 

A road from the Amar singh Gate leads to a high ramp. This ramp further leads to the lawns in front of the Jahangiri Mahal. In the middle of the lawns is a large bath-cistern. It is believed that this cistern was presented by Jahangir to Nur Jahan on the occasion of their marriage in 1611. In front of the stone bath is the Jahangiri Mahal. Apart from the Jahangiri Mahal there are ruins of another palace known as the Akbari Mahal. It is believed that originally both these palace were part of the same complex known as the Bengali Mahal, most likely, because of its architectural design which comprised of curved and bent cornices and sloped roofs. Thus the walls, the Delhi Gate, the Amar Singh Gate, the Jahangiri Mahal and the Akbari Mahal are the only surviving building of Akbar's period. Rest of the buildings were demolished by Shah Jahan to make room for his marble palaces.

 

Shah Jahan's reign is known as the golden era of Mughal domination. During this period highest degree of perfection was attained in building art. Sandstone was replaced by marble and numerous new buildings were constructed. During this phase Mughal architecture reverted to purer Persian lines and the buildings were more delicate and elegant.

 

Just near the Jahangiri Mahal is the Khas Mahal. This part of the palace was meant for exclusive use by the emperor. Shah Jahan also called it the aramgah. In front of the Khas Mahal is the Anguri Bagh or the garden of grapes. The garden is overlooked by the Khas Mahal on the east and is surrounded on the other three sides by continuous colonnade and suites of rooms red sandstone. These were built by Akbar as the residences for the women attendants of the imperial household. On the southern side of the Khas Mahal is the Shah Jahani Mahal or the palace of Shah Jahan.

In the north-eastern corner of the Anguri Bagh are the hammams. Adjoining these hammams are the ante-chambers which is known as the Shish Mahal or the Chamber of Mirrors. There are two such chambers and each had a marble reservoir for water. The walls and ceilings of this chamber are covered with pieces of glass.

From the Shish Mahal steps lead to the Muthamman Burj. This small imperial building was built by Shah Jahan for his beloved wife Mumtaz Mahal. This was used as a resting place during the summer months. The Muthamman Burj was double storeyed and the floor of the lower storey court looked like a Pachchisi board. So it was known as the Pachchisi Court.

From the courtyard of Muthamman Burj a flight of steps over the imperial baths lead to the Diwan-I-Khaas or the hall of private audience. Diwan-I-Khaas which was the first marble palace to be built by Shah Jahan stands over the Shish Mahal on a well carved plinth. It was used for both receiving guests and official purpose.

To the west of the Diwan-I-Khaas is the Machchhi Bhawan. It is believed that during Aurangzeb's time tanks for keeping gold fish were built in this palace.. It was because of the fish pond that place was known as Machchhi Bhawan. In the north-eastern corner of Machchhi Bhawan are the royal baths which was used by Mumtaz Mahal and her daughters. From the upper floor of the Machchhi one can clearly see the Nagina Masjid which is believed to have been built by Aurangzeb to prevent his father from visiting the Pearl Mosque.

From the Machchhi Bhawan complex a narrow flight of steps lead to the Diwan-i-Am or the hall of Public Audience. This court has two principal gateways one in the north and the other in the south side. From here the northern gateway leads to a much smaller enclosure which had passages to the water gate on the east and a passage to the Delhi Gate to the north-west. From this enclosure two high flight of steps lead to the Moti Masjid which is one of the most beautiful building at Agra. This mosque was built on the highest ground of the fort.

The Delhi Gate, which is on the western side of the fort, facing the Jami Masjid, is an architectural masterpiece of Akbar's period. As per accounts of contemporary chroniclers this gateway was completed between 1568-69 A.D. and was intended to be the principal gateway of the fort. The gateway was designed in such a way that it put the defenders of the fort in an advantageous position.

High extra-strong bastions which high merlons were provided on the ramparts. They sheltered the defenders who could safely fire at the besiegers under their cover. Loopholes and embrasures were devised and so manipulated as to facilitate the defence; other points were provided from where the garrison under cover could catch the exposed besiegers from above and shoot them down. A drawbridge which connected the Fort with the mainland, could be lifted, this device rendered the gate inaccessible to the invading elephants.

A crooked entrance, with sharp curves at various trap points and a paved steep rise, was devised to obstruct the path of an invading army. Thus storming the fort was an almost impossible task because once the enemy was trapped he was exposed to the fire of the defenders positioned on the ramparts. Militarily, the Fort of Agra was impregnable in medieval times and was considered to be the strongest fort in the plains. It was because of this strength that the Fort of Agra contained the biggest and the richest treasury of the Empire from the time of Akbar to that of Shah Jahan.

As soon as the military problem had been successfully tackled, the master architect took the aesthetic aspect in hand. The inner entrance is known as the Hathya-Pol (Hathi-Pol) or Elephant-Gate, which has been particularly so designed as to produce an extremely beautiful architectural effect. This was called Hathi Pol because earlier the gateway was adorned by two life size sculptures of elephants with their riders and upturned trunks making an archway, probably the replicas of Jaymal and Phatta, the gallant defenders of Chittorgadh, but today only the pedestals are left. This entrance was protected by two beautifully designed and ornamented bastions. The bastions are octagonal in shape and double-storeyed in height. Each bastion is crowned by an elegant chhatri and has a battlemented parapet. Horizontal oblony panels above the upper storey arches, below the frieze and cornice, alternatingly depict a pair of 'Gaja-Vyala' (composite animal with elephant-head) on the one, and a pair of ducks with Sassanian 'sash' or fringed ribbon, and an Assyrian palmette in the centre on the other. Each 'Gaja-Vyala' is made up of lion, horse, bird and elephant and is fighting with seven elephants simultaneously. Both these motifs are auspicious symbols which have been used here to depict Royalty. The entrance is hexagonal, with arched alcoves on the remaining four sides. The gateway has a four storyed elevation on the rear (eastern) side, in receding terraces, composed of beautifully designed and finished red stone living rooms, dalans (verandahs) and pavilions.

The gateway was planned out in such a way that it was spacious enough to contain series of living rooms, verandas and pavilions. The two octagonal towers were linked by a vaulted passage, which originally served as the Naubat-Khanah.

This red sandstone gateway was profusely ornamented by Akbar and almost all available artisans were employed; all possible techniques of decoration were adopted. It contained the inlay and mosaic; stone carving chiefly in geometrical designs; stucco in arabesques; painting; and of course, glazed-tiling. Spaces were very judiciously selected for the display of different techniques of decoration. Carving in bold relief can be seen in the oblong panels around the arches on the western façade and in the brackets, lintels and friezes on the eastern façade. Brackets with elephant heads are extremely gorgeous. Beautifully designed jalies were used on the balustrades of the balconies. Stucco decoration was mostly done in the interior on arched niches, soffits and semi-soffits with arabesque, geometrical and stalactite designs. Glaze-tiling work is chiefly done on the friezes with blue, green yellow and deep red colours. Today much of the decoration has disappeared but from its remains we can easily make out how graceful and beautiful it was.

According to English traveller William Finch the southern gateway to the fort which is known as the Amar Singh Gate was originally known as 'Akbar Darwazah'. During Akbar's time the emperor and his personal entourage used this gateway. It was renamed during Shah Jahan's reign. As per tradition, it is believed that Rao Amar Singh of Marwar, the elder brother of Raja Jaswant Singh, was one of the leading nobles of the empire, slew Salabat Khan, the chief treasurer of Shah Jahan in the full Court in 1644 A.D. As per Mughal custom this was an unpardonable crime. It was popularly believed that the Rao cut his way to the gate and escaped by jumping across the moat on horseback. But this is not true. The Rao and his valiant followers were cut to pieces while trying to make good their escape. The torse of horse on the edge of the moat near this gate was, in fact, planted by the British East India Company to derive political advantage out of it. The gate, thus, came to be known as such popularly.

Architecturally this gateway is somewhat similar to the Delhi Gate. Just like the Delhi Gate this gate also has a drawbridge over the moat, a crooked entrance with dangerous diversions and a high ramp which is paved with small bricks.

 

The gateway lies between two octagonal towers. Unlike the Hathi-pol this gateway is not adorned by two life size sculptures of elephants. The Naubat Khana at this gateway is also an imposing structure. It was surrounded by pillared pavilions overhead, which present an impressive sight. But now they have been renovated. The bastions at this gate are smaller and not very imposing.

As far as ornamentation is concerned this gateway was not very elaborately decorated. The lower portions were divided into oblong and arched panels. The panels were further ornamented with glazed tiles of yellow, green, blue and white colours. While the panels on the upper portion were plain. Each bastion was crowned by a chhatri made of pier. The chhatri has a hemispherical cupola with an inverted lotus. The chhaja around the drum of the dome is supported on brackets. Originally the cupolas were also covered with glazed tiles. While the Mughal headers-and-stretchers system has been adopted on the upper portion of the facade, the lower wall is composed of thick stone masonry in the typical Hindu fashion. It supports the assumption that the Fort was not raised from its foundations by Akbar as Abul Fazl notes; old foundations and, probably, some sub-structure were, instead, utilised by Akbar to give additional height to his palaces.

The Akbari Mahal originally composed the Bengali Mahal. Abul Fazl mentions it under this name in 1569 A.D. when it had just been completed. De Laet also alludes to it as Bengali Mahal: "In addition there is a fifth set of women's apartments in which foreign women are brought up for the pleasure of the King; this is called the Bengali Mahal." The Akbari Mahal or Akbar's Palace is in complete ruins now-a-days. Today one can only see traces of it, which clearly indicates that it once contained spacious courts surrounded by series of spacious chambers. This building is situated between the Jahangiri Mahal on the north and the Bengali Burj on the south. Originally all this must have been part of larger palace complex. This palace was built between 1565-69 and is believed to have been used for residential purpose.

As it seems, the original plan of the western facade of this palace was extended to about 430 feet (131.06 meters) with two gateways and three towers, out of which only one gateway with two flanking towers at the corners have survived and now forms the western facade of the present Jahangiri Mahal. The whole facade had one fundamental scheme of ornamentation with oblong panels containing geometrical and arabesque patterns in carved relief on red sand stone, a series of ornamental arches with fringe of lotus buds, inlay on the gateways, a chhajja-balcony supported on beautiful brackets, oblong openings and jharokhas on the second storey and a gracefully designed parapet with glazed-tile decoration. Medallions with very intricate arabesques, similar to those on the eastern facade, were provided between the brackets and all along the spandrels of the ornamental arches. The facade has thus been treated very artistically and there seems to be no doubt that Akbar had at his disposal a group of skillful artisans who had complete mastery of their art.

The Akbari Mahal has a large stone-paved courtyard, which was originally enclosed on all sides. Only a few of the suites on the eastern side of the courtyard have survived. Those on the northern, western and southern sides have disappeared except their plinths. The gateway to the Akbari Mahal was provided on the western side but only the plinth of this once imposing octagonal tower can be seen. The entrance was devised in such a manner so as to ensure complete purdah and security for the women in the harem. The portal opened into a square poli and was further connected to the central courtyard by a series of passages. The central building on the eastern side is double storeyed. The lower storey was a great Assembly hall with a high ceiling from the sides of which projected massive brackets supported the side beams.

The intermediary space was divided into compartments with the help of cross beams, which were also supported on brackets. These compartments were covered by slabs. But the upper storey is in ruins. The hall on the upper storey had triple opening on the riverside, but was smaller in breadth. This hall also had a flat compartmental ceiling. Both the rooms i.e. the one on the lower storey and the other on the upper storey had a north-south axis. There are two more halls on the either side, which have east-west axis. Unlike the other two halls here the whole ceiling is supported on chhajja which runs around the four sides and is supported on brackets.

On the northern as well as on the southern sides of the suite are two smaller courts. They were designed so as to provide a cool and comfortable ambience. The complex adjacent to the court on the northern side is in ruins but that on the southern side is intact. The complex overlooking the southern court is also a double storeyed mansion with pillars, brackets, chhajjas and flat ceilings. The inner hall had a domed ceiling and plaster ornamentation.

On the south-eastern side of the Akbari Mahal is the Bengali-Burj apartment. This apartment has a spacious square hall having arched aisles on the four sides with semi-soffits supporting a domed ceiling. The arches have beautiful stone nook-shafts bearing chevron design. Close to the Burj is the Akbari Baoli which consisted of a well about 10' in diameter, with five rows of rooms round it and steps leading to the water. This baoli was once connected to the river by means of a tunnel. The whole palace complex was built of red sandstone. Since this was a very spacious complex it could accommodate a large number of people. Adequate arrangement for water supply was also made. A range of latrines and service quarters were also provided on the northern side of this residential complex.

Adjoining the Akbari Mahal on the north is the palace known as Jahangiri Mahal. With its beautiful brackets, roofs, projecting eaves, carved panels, recesses and pillars it is a wonderful specimen of Mughal architecture. This magnificent palace was built between 1565-69.

The palace measures 261' by 288' externally and has an extremely impressive facade on the western side. The facade, which faces an open court, is composed of an arched portal in the centre which projects forward with two beautiful jharokhas, a series of ornamental arches on either side of the portal and an octagonal tower at each end surmounted by a cupola. The lower portion of the facade is profusely decorated with ornamental arches but the upper portion had series of oblong openings. This storey also has a slanting chhajja over the openings.

 

The palace has a very complex arrangement of chambers and halls, corridors and galleries, open courtyards and dalans (verandas) - all grouped together without, as it seems, a fundamental unified plan, around a central court. The broad arched portal-entrance leads to a square poli (entrance-hall) of 18' (5.49m) side with a chahar-suq (four-arched) plan. It has ribs-and-panels vaulted ceiling which is supported on corbelled pendentives shaped as stalactite. A narrow crooked passage leads from the poli to the annexes on the northern and southern side. These annexes which are just behind the facade of the palace are identical in plan. Both of them have extremely beautiful Tibara dalans (three-arched verandahs) and living rooms with duchhatti, which opened into a dalan. The square pillars of the dalan are simple and at the same time extremely graceful brackets have been provided to support the exterior chhajja. The passage further leads to the central courtyard, which is almost square in plan and is about 72' (21.95m) side. In the court the artisans had adopted a uniform architectural scheme on all its sides. The court built in red sandstone and is composed of a series of boldly carved and beautifully  moulded brackets supporting a chhajja all around, a rotating whispering gallery with regular ornamental miniature arched openings in the second storey, again a beautiful chhajja and the jalied balustrade crowning each facade which is broken in the centre by a square chhatri having a chaukhandi (pyramidal) roof. The composition is entirely in red sandstone with profuse yet-extremely graceful c arving, distributed most judiciously on all surfaces in floral, geometrical, arabesque and stylized patterns.

 

The Assembly Hall, which is situated on the northern side of the court, measures 62' x 37' (18.90m x 11.28m), has been designed most exquisitely. Even though the hall is single-storeyed, yet an additional floor (duchhatti a mezzanine floor) has been provided in the interior in the form of a hanging balcony. The flat ceiling was divided into several square quarters, which rested on massive beams. They rest conjointly on struts or serpentine brackets, which radiate from the base of the columns of the hanging balcony. They have been arranged symmetrically on both the longitudinal sides. Each strut has a serpentine form emitting from the mouth of the elephant with raised trunk in typical Gujarati style. This can also be interpreted as the conventional Hindu makara (mythical aquatic animal). Each curve is filled in by a hamsa (swan). These struts give the hall a distinct character and make it almost the sabha-mandapa of a Hindu temple. There is, however, no doubt that the hall was intended to be used for assemblies, functions and ceremonies.

The hall on the southern side of the courtyard is smaller in dimension. It has a Ladao or wagon-vaulted ceiling. But the most important feature of this hall is a corridor which rotates on its three sides and is connected with it through beautifully designed perforated screens (jalies). Just adjacent to this hall is a long corridor to the south of which is situated a series of living rooms.

The hall on the western side of the court is richly decorated with carved designs. Particularly noticeable are the regularly disposed sunk alcoves with exquisitely designed ornamental borders in carved relief. Most probably, this was used as a temple by the Hindu inmates of the harem of Akbar. This hall also has a flat ceiling. The room on the south-western corner of the court has a beautiful chaukhandi or pyramidal ceiling. The frieze had a series of ornamental arched niches with fringe of lotus buds, which was also a source of air and light. The room on the north-western corner of the court has a vaulted Padma-Vitana or lotus-ceiling. Here the lotus petals are magnificiently made up of stone slabs. It has stalactite in the phase of transition.

The rooms located on the eastern side of the courtyard have no carving. Instead it has been beautifully decorated with stucco work on a brick skeleton in incised technique in intricate, highly sophisticated, arabesque patterns of a very superior class. This is gypsum plaster and is technically known as gesso-work. Apart from these rooms, some rooms on its southern side as well as some behind it has similar kind of decoration. All these rooms have been constructed in arcuate style with vaults and arches. The portions, which lie on the northern side of palace, are completely ruined.

On the river side the palace has a curtain wall with oblong openings and a part of it has been closed by jalies. The eastern facade has a tibara dalan with a duchhatti composition and an arched portal flanked by series of carved ornamental arches.

 

The superstructure of the Jahangiri Mahal has many beautiful apartments on the western side. There are two grand pavilions (chaukhandis) which are rectangular in plan & have beautiful pyramidal roof on the eastern side. But the most important architectural feature of the superstructure is the Mayura-Mandapa or the Peacock Hall. This red sandstone building has a open central courtyard. It has a corridor on its three sides and a veranda and hall on its western side. The chhajja in this building are supported on beautifully designed peacock shaped brackets. Each peacock has a serpent in its beak and illustrates the mythological belief of the Hindus that the peacock is a traditional enemy of serpents. Thus the peacock brackets add to the beauty of the building and makes it impressive.

In the Jahangiri Mahal we can see extensive use of stone as well as stucco work. The western façade is decorated with geometrical designs inlaid with white marble on a red sandstone background. The white marbles used on the ornamental arches of the wings can be mistaken for ivory. Apart from this, features like perforated screens, brackets, struts and chhajjas add to the aesthetic sense. The palace also contains some traces of painting over stone surfaces in the southern and the eastern halls. Colour embellishment here can be seen in the form of painted stucco work. The southern chambers have beautiful incised work, which is known as gesso work because of the use of gypsum mortar. This kind of decoration was chiefly done on the ceilings. Originally they were gilded with a thick layer of pure gold but later on plunderers scrapped it off.

 

The Shahjahani Mahal is situated on the south of the Khas Mahal and adjoins the Jahangir Mahal on its north side. It is believed to have been adapted by Shah Jahan to his taste and requirement between 1628-35. It is in brick and plaster with some pleasing floral designs in stucco. The river-side pavilion is octagonal in shape and consists of a central room, two rooms on the eastern and western side (about 24' by 17' each), one room on the southern side and the front corridor. The room on the western side accommodates the so-called Somnath Gate. This is a misnormer. It is popularly believed that this gate belongs to the tomb of Mahmud of Ghazni who died in 1030 A.D. There is, on it, an Arabic inscription to this effect. This gate was removed from the tomb by the Britishers and brought to India in 1842, in order to enlist the popular support of the Jindus, declared that an insult of 800 years back had been avenged, and thus, is not a part of the original construction. The stucco work of this palace marks the early phase of the art when the artists avoided any bold display of this art. The relief work here was originally painted in dark green and gold.

Shah Jahan demolished some of the red sandstone buildings of his august grand-father Akbar in the Fort of Agra and built white marble mansions of his own brand in their place. Lahauri, his court historian, has recorded that Shah Jahan loved architecture more than anything else, and took keen interest in planning and designing the buildings. The supervisors in consultation with skillful architects prepared the designs which were then presented to the Emperor: "The Royal mind, which is illustrious like the Sun pays full attention to lofty edifices and strong buildings which speaks for a long time with a mule tongue of their master's high magnanimity and sublime fortune and for ages to come are memorials of his abode and love of ornamentation prepared by clever masons after a long consideration he makes appropriate alterations and asks proper questions...."

The 'Khas Mahal', called 'Aramgah-i-Muqaddar' is situated next to the Shahjahani Mahal, with the Anguri Bagh or the "Garden of Grapes" outstretched at its feet, was built between 1631-40 by Shah Jahan by demolishing earlier sandstone structures. It has been planned out magnificently with river on the one side and the beautiful Anguri Bagh with its enchanting water devices --tanks, fountains, waterfalls, candle-niches, water channels-- on the other. It stands in the centre of a platform flanked on either side by two 'bangladar' or 'bamboo-roof' (with curved roof and chhajja) pavilions and open courts. These pavilions are of red sandstone overlaid with white shell-plaster, exactly resembling white marble. Shah Jahan built this for his two favourite daughters Jahanara and Roshanara. In front of this palace complex is a beautiful tank. The tank is 42' by 29' and has five fountains. These fountains were fed by water from the tanks over the Jahangiri Mahal to the South. The palace is secured on both sides by thin marble slab screens to ensure "purdah" (seclusion), which custom was observed rigidly in the harem. Lahauri describes the palace at length and designates it as the exalted and blessed "Aramgah" or the bed-chamber.

 

The three white pavilions over looking the Jamuna stand on a terrace of white marble measuring 112' by 96'. The central hall or baradari is 70' by 40'. The colonnade or portico, which is of the same size as the inner hall, has five 9-cusped arches in front and three arches on each side. Three central archways lead to the inner hall and exactly on the opposite side are three marble windows over looking the river. At each end of the main hall are arched recesses giving access to the side rooms. The ceilings of this palace are flat and were richly decorated. All around the palace is a projecting chhajja supported on elegantly carved and moulded brackets. There are two chhatris above the parapet on the river side. In the interior the walls have a large number of niches, which is believed to have contained potraits of Mughal emperors. There are also four iron rings in the roof of the central hall which suggest that chandeliers were hung to light the hall.

The two almost identical pavilions, which flank the main hall, consist of two rooms and measures 15' square respectively. They have a slightly curved and elongated roof. Both these pavilions are separated from the central hall by marble wall 8' high. It is believed the Jahanara occupied the northern pavilion. These pavilions are of red sandstone but were overlaid with white shell plaster.

When we look at the ornamentation part we see that the mural painting in the Khas Mahal is the best example of gold work. It has been done all along its interior from the dados to the ceiling in floral and other conventional patterns. The two main colours that have been used is gold and blue. We can still see remnants of restored decoration in blue and gold on the ceilings of the central hall. The interior of the two pavilions was also profusely decorated with floral and geometrical designs.

On the western side of the Muthamman Burj and just below the Diwan-I-Khaas hall is the Shish Mahal or the Glass Palace. This was constructed by Shah Jahan sometime between 1631-40. It has the best specimens of glass-mosaic decoration in India. Originally Byzantine, the art of glass-mosaic spread with Islam. Since it is believed that the building was used as imperial baths, its walls were made extra thick to ensure maximum coolness in the interior. The name of the building is derived from the fact that its ceilings and walls are covered with innumerable pieces of mirror set in the plaster. Minimum openings were kept in this building to necessitate the use of artificial light, which was also necessary to obtain the picturesque effect of the glass work. Provision of running water through waterfalls, fountains and channels was made to add to the wonderful ethereal atmosphere in the interior.

Abdul Hamid Lahauri, the historian of Shah Jahan, calls these glass pieces "shishye halabi". Haleb was the original name of Aleppo (Syria) which was the main centre for manufacturing these glasses, as was Kashan for glazed tiles in Persia. The Byzantines used small cubes of glass which were replaced by thin glass pieces of convex form, preferably of a greenish colour.

 

The Shish Mahal comprises of two large chambers measuring 36' 7" x 21' (11.15m x 6.40m) each. Both these chambers are connected in the centre by a broad arched opening and on the sides by two narrow passages. Light penetrated only through two doors and a ventilator in the southern wall near the ceiling. Each chamber had a marble reservoir for water and there was also arrangement for hot and cold water. The chamber had marble doors so that steam bath could be had if needed. The northern wall of the interior hall has a beautiful niche sunk in its centre which has two inlets for water, one through a slit between two marble slabs and the other through a pipe. The water coming through this inlet fell into the tank sunk in the wall like a continuous sheet. From here through another channel the water fell into another tank, again as a large sheet of water, smoothly and rhythmically, and with a sweet murmur. Two series of candle niches were also provided, each containing three rows of seven niches each - thus having twenty one niches in each series. Candles glowing and shimmering behind the falling water (waterfall) in the semi-dark halls, studded with mirrors, ready to reflect in one hundred ways the slightest rat of light, must undoubtedly have created a gorgeous effect, giving a fascinating aesthetic colour and romance to he palace. From the tank in the inner hall the water then flowed through a long canal into the tank in the outer hall. Both these tanks had fountains, which added to the mysterious effect of light.

 

The outer hall has marble dado panels. These panels have inlaid borders decorated with straight and curved lines with stray leaves. Black and red are the chief colours that has been used for ornamentation. The centre portion has been painted with beautiful plants. The panels above the dados have guldasta composition in stucco relief work. Originally these panels must have contained a mirror or a portrait on some metallic sheet. Today they are blank. There are two more series of panels above this. On these panels guldasta with natural leaves and flowers arising magnificently out of a vase has been combined with glass mosaic. The dados in the inner hall have no inlay work. Here the whole surface has been painted.

The eastern and western side of the inner hall has semi-soffits. The ceilings have beautiful stalactite pattern. The ceiling of the inner hall is circular while the outer hall has a rectangular flat ceiling. The ceiling of the entrance portal has incised stucco work in conventional Persian design.

The Shish Mahal of the Agra Fort is not a Hammam (bath-house), as has generally been supposed because of the presence of water-tanks, water-channels and other water accessories. Hammams had been arranged separately. The Shish Mahal formed part of the palace, and it seems to have been used mostly during the summer season; it is still extremely cool and comfortable, even without the waterfalls and the fountains.

Anguri Bagh or the Garden of Grapes measuring 220' x 169' is overlooked by Khas Mahal on the east and is surrounded on the other three sides by chambers in red sandstone. This garden was built by Shah Jahan around 1637. This was the principal square of the zenana apartments and was enclosed on three sides by arcades to ensure complete privacy. In the centre of the garden was a marble paved platform measuring 48 square feet from which radiated four marble paved footpaths about 18' wide. The garden itself was further divided into compartments separated by low ridges of red sandstone in an intricate geometrical pattern. In the centre of the marble platform was a fountain. It is believed that choicest of grapes and flowers were grown here throughout the year according to the season. With its exquisite flowers and glittering water tank Anguri Bagh was meant to be a paradise garden.

In the north-eastern corner of the Anguri Bagh are the hammams or imperial bath houses. Because of the tropical climate these bath houses were accorded special importance in palace architecture. These imperial baths contained some of the most beautiful wall paintings of the period in royal blue and gold. The Anguri Bagh ponds and baths received water from the tanks situated near the Jahangiri Mahal.

Muthamman Burj or the chambers within the octagonal tower is situated where the main wall of the fort takes a turn towards the east, seems to be the earliest of the marble palaces of Shah Jahan. It is wrongly called the "Samman" and hence the "Jasmine" tower, which is an obvious misnormer. At this site Shah Jahan demolished Jahangir's palaces and erected marble multi-storied tower richly inlaid with precious stones for his beloved wife Arjmand Banu Begum or Mumtaz Mahal. Abdul Hamid Lahauri also assigns its erection to Shah Jahan and says that the site was earlier occupied by a small marble house built by Akbar. Later on Jahangir demolished it and built new buildings. Similarly Shah Jahan not approving of his predecessors buildings got it demolished and replaced it by the present palace. This was built by Shah Jahan between 1631-40. It is believed that it is here at the Muthamman Burj that Shah Jahan died gazing at the Taj. The original 'jharokha', from where Akbar and Jahangir showed themselves to their people every morning, was situated here. The painting entitled: 'Emperor Jahangir at the Jharokha Window' painted by Abul Hasan 'Nadiral-Zaman' in c. 1620 A.D., faithfully depicts the Muthamman Burj and the Jharokha window with Jahangir.

 

The Muthamman Burj, which occupies the most projecting circular bastion overlooking the river, is a spacious two-storied octagonal pavilion with a dome of gilded copper at the top. The lower storey court (about 44' x 33') has a flooring which appears like a board for playing pachisi. Thus it is known as the Pachisi Court. But this was actually an ornamental cover for the drains, which was used for taking water out of the palace. Its unequal sides clearly indicates that the supposition that it was the board on which pachisi was played by the emperor is absurd. On the eastern most side a jharokha gracefully projects forward. Apart from this a marble screen has been provided which covers a part of the river front. The mansion has been constructed on beam and bracket system. The vertical pillars and the horizontal chhajja supported on beautiful brackets adds to its external effect.

 

Next to the tower to the west is a small pavilion, known as the Shah Burj, which is perhaps the most ornate building in the whole fort. The pavilion has in the middle a beautifully inlaid and profusely carved sunken tank (in the shape of a stylized lotus) with a fountain. The pavilion is decorated with delicate inlay work with semi-precious stones and its flat vaulted marble roof was once well decorated in gold and other colours.

This elegant little palace complex is a self-contained building. It has its own separate courtyards and baths. A passage from this building leads to the imperial baths and Diwan-I-Khaas. There is another small marble paved room containing a water fall and a channel. This might have been a cooler resting place during summer months.

At the Muthamman Burj rich inlay work can be seen on the pillars and the dado panels. The dados have inlaid borders and carved plants in the centre. Decoration in the form of chinese cloud forms also appear on the dado panels. The floral scrolls are highly conventionalized. The ornamental niches in the interior are also decorated with inlay work. Polychrome marble and semi-precious stone have been used extensively to form plant and flower motif.

Situated to the south-west of the Diwan-I-Khaas, above the Shish Mahal apartments, is the Mina Masjid which seems to have been built by Shah Jahan between 1631-40 for a strictly private use. Although the history of its construction is not clearly known, but its proximity to the imperial zenana palaces suggests that it was meant for the emperor and the royal ladies. Local traditions say that it was used by Shah Jahan during his captivity from 1658-66 A.D. when he was imprisoned by Aurangzeb in the Muthamman Burj. But the contemporary records are silent on this subject.

This small marble mosque which has been squeezed in amongst the other buildings is enclosed on all sides by high walls. This extremely plain and unadorned, Lilliputian mosque has three small 3-centered arches in its façade. The prayer chamber which is about 22' x 13' has a small mihrab (arched niche denoting the direction of the Kabah) in the centre of the western wall. There is also a small window in the northern wall over looking the Machhchi Bhawan. The small court which is about 22 square feet is paved with alternate squares of marbles and tiles, specially prepared with lime, coloured kankarm and other materials. Above the arcade is small chhajja supported on four exquisitely carved and moulded brackets of white marble. They are the only ornamental elements in the mosque and hence in them is concentrated the whole beauty and effect of its composition.

In front of the Diwan-I-Khaas is a large open platform, which is part of the Machchhi Bhawan or the fish chamber. It is believed that originally the Machchhi Bhawan was adorned with marble fountains and tanks in which gold fishes were kept for emperor's amusement. But the Badshah Nama calls it the store room for guarding imperial ornaments and jewels.

The Machchhi Bhawan quadrangle contains a spacious courtyard about 164' x 132' lined on three sides by two storied arched galleries. The courtyard has an entrance on the northern side. In the centre of the upper storey on the southern side a small marble pavilion projects outward. It is formed of four columns with bulbous bases supporting an canopy. The ceiling of the pavilion is embellished with a sun medallion. It is believed that in this marble balcony was placed the Golden Throne on which the emperor sat and enjoyed the magnificent sight of the court below. The lower floor had several rooms, which probably served, as the treasury.

 

On the eastern side of the quadrangle is a raised white marble platform. At its northern and southern ends are marble pavilions facing one another. The northern one was the royal bath, which was divided into luxuriously, decorated multiple rooms. The Southern pavilion was a small reception room known as the Diwan-I-Khaas. North of the Diwan-I-Khaas is an open terrace containing a white marble throne and a black marble throne. The black throne has a beautifully carved inscription of Salim dated 1602 A.D.

 

 

The stucco relief work at Machchhi Bhawan is one of the finest examples of this art. The upper storey chhajja has stone brackets but the intermediary space between the brackets has been beautifully moulded and designed with fine white lime. The bay attached to the throne pavilion also has stucco work done with fine white plaster. The vaults and ceilings have such boldly carved stucco work that they appear like chiselled marble.

 

 

Diwan-I-Khaas or Private Audience Hall stands on a well carved plinth, about 3' high, and is entered from the Throne Terrace (two marble thrones are placed in front of each other). As per Lahauri, the Diwan-I-Khaas was constructed in 1635 A.D. He has designated the interior hall as Tambi khana and particularly mentions the wooden flat ceiling which was covered with silver leaves inwrought with gold-work in relief. It was here in all probability that the French goldsmith Augustine of Bordeaux was employed. This room was used by the emperor for reception of kings, ambassadors and nobles in private and also for dealing with important affairs of the state.

 

This double-chambered structure is open on three sides and is entered through five arched openings supported on double columns. These double columns not only strengthen the structure but also add to its aesthetic effect. The inner hall which is about 40' by 26' and the outer hall which is about 73' by 33' is connected with each other by three archways. The portion above the double columns and engrailed arches is surrounded by an extremely projecting chhajja. There are no chhatri's over the parapet which was a very important element of Shah Jahanian architecture. Their absence is unaccounted for; may be, they were present there originally and were later destroyed. Inside there is an inscription in Persian, on the south wall of the dalan, is commendatory and is in praise of Shah Jahan and the palace. It record the date A.H. 1045 (1635 A.D.) inlaid in black stone, in the chronogram "Saadat sarai wa humayun asas". The inscription compares this room to the highest heaven while the emperor himself is compared to the sun. Infact the flat ceiling of this room was once covered with silver and gold lines to imitate the rays of the sun.

The Diwan-I-Khaas had splendidly been decorated with inlay and carved relief work. The inlay work on the borders of the dados, with carved plants in the middle in relief has been done with utmost care. The exquisite carvings and inlay work in floral patterns is highly refined and sophisticated. The inlayers at Diwan-I-Khaas had very judiciously selected spaces for inlay so that the work could be presented in the best possible manner.

The Nagina Masjid or Gem Mosque, built of purely white marble, which is much larger and far more refined than the Mina Masjid, is situated on the north-western corner of the Machchhi Bhawan. It was constructed between 1631-40 and was probably meant for personal use by the Emperor Shah Jahan. Muhammad Salih, the court historian, describes at length how the Emperor awakes early every day and "performs ablutions, prepares for the worship of the true God and goes to the mosque which has been built in the private apartments (Khalwatgah) of the land of Akbarabad. Ready for the worship of the true God, he sits with his face turned towards the Qiblah on the prayer carpet, till the time for morning prayers comes."

The Nagina Masjid comprises of a open marble paved court, which is surrounded by walls on the northern, southern and eastern side and a prayer chamber, which is a three domed marble structure. The prayer chamber is built on a slightly raised plinth. The high walls enclosing the court have been beautifully crested. A magnificient inlaid water-chute with a shallow cistern is still in-situ. The mosque is entered through a three arched façade. The arches of the façade are cusped and supported on slender piers. The central arch is larger than the other two and has nine cusps while the side ones has seven cusps. On the western wall of the prayer chamber is the mihrab indicating the direction of kabaah. There is a broad projecting chhajja on three sides above the arches. A curve can also be seen in the middle of the façade i.e. in the chhajja as well as in the parapet which feature, as a whole, gives extra importance to the central part or the nave in the façade, as well as to the elevation. This feature known as bangladar is a distinctive characteristic of this mosque. The three bulbous domes are crowned by inverted lotus and finials and the central one is larger than the other two.

 

Shah Jahan dismantled many buildings constructed by his predecessors to make room for his own marble pavilions. One of his earliest ventures was the construction of the Diwan-I-Aam or Hall of Public Audience within the Agra Fort. This building was constructed between 1631-40. The Diwan-I-Aam is situated very close to the Machchhi Bhawan. It is believed that from here Shah Jahan addressed the general public as well as the nobility. This grand assembly hall is situated in the great quadrangle, having arched dalans on its sides. Lahauri has recorded that it was erected "in place of the cloth canopy which used to be stretched in front of the Jharokha of the Daulat-Khana-i-Khass-o-Aam, in former days and even for a time in this everlasting reign and on the spot of the wooden hall which also though built under this very heavenly rule for the protection of the circle of this exalted assembly was removed."

 

The Diwan-I-Aam or Hall of Public Audience measures 201' by 67'. It has two majestic arched gateways of red sandstone on the northern as well as on the southern side. This flat roofed rectangular assembly hall is open on three sides. The façade is composed of an arcade with nine bold 9-cusped arches supported on strong double columns. The chhajja around the building is supported on brackets. In the interior, the hall is divided into three aisles. With pilasters taken together, the hall is composed of 40-pillars, or the mythical and symbolically auspicious 'Chihil-Sutun'. The arches are well-proportioned and represent the perfect form of the engrailed type. This is constructed in red sandstone, but is covered with a highly burnished plaster, which looks like white marble. Originally the outlines of the columns and the spandrels were done in gold and they harmonized well with the white plaster over red sandstone. On the eastern wall of the assembly hall is a richly decorated raised rectangular chamber that served as a jharokha from which the sovereign presented himself to those assembled in the hall. This has three arched opening. This portion is constructed in marble and is richly inlaid with precious stones.

This was known as the 'Throne Room' or 'Takht-i-Murassa' of the emperor. The room was connected to the royal apartments beyond and sometimes the royal ladies viewed the ceremonials of the Diwan-I-Aam through the perforated marble windows on the right and left of the throne room of the emperor. Below this room is a large four legged marble dais 1'18” high. Locally known as the 'Baithak' it is said to have been used by the Wazir when presenting petitions to the emperor. It is believed inside the hall there were silver balustrades which allowed the nobility to stand according to their ranks.

The Moti Masjid or Pearl Mosque is situated on the northern side of the Diwan-I-Aam quadrangle. This mosque was constructed between 1648-54. The mosque stands on a high ground sloping from east to west. From outside the structure appears to be made of brick, but inside it is completely made of marble. The orientation of the mosque is, in fact, identical with that of a Hindu temple, not only with reference to the directional provision, but also with respect to its situation and close proximity to water. The idea - and the idea alone - can be compared with the Sun Temple of Modhera in Gujarat, which faces the east and also the beautiful tank which provides it with a grand setting.

Externally the mosque measures 234' 3" x 187' 8" (71.40m x 57.20m). The exterior is of red sandstone and whatever relief work has been done on the carved panels is simple and unimpressive. So it was desired to be; the architect reserved his skill for the interior which has been built exclusively in pure white marble and is surpassingly beautiful. The main courtyard which is nearly a square is 154' (46.94m) x 158' (48.16m) and is paved with marble.

This beautiful mosque has the conventional plan of the Indian mosque, being composed of a central court with dalans (cloisters) on its three sides (north, east and south) which is 10' 10" (3.28m) deep. The western side is occupied by the prayer chamber (sanctuary). In the centre of the court is a marble tank which is about 37' 3” (11.35m) square and near the south-eastern corner is a sun-dial comprising an octagonal marble pillar. The arcaded cloister is composed of twelve-sided pillars with very slight fluting and nine-cusped arches which have been devised and set most proportionately. There are in all sixty-four pillars including the pilasters. The cloisters are protected above the arches by a beautiful, medium size, adequately projected chhajja which rotates continuously on all the three sides, except when broken at regular intervals by the gateways, on the north, east and the south. The horizontal continuous lines of the plinth of the cloisters below and of the chhajja above provide a beautiful setting for the foliated arches, resting vertically upon the pillars. These arcades have no chhatris as have so abundantly been used in the Jami Masjid situated hardly a quarter of a mile west of it.

The main entrance to the mosque was provided on the eastern side, which is, therefore, larger and more aesthetically conceived than the subsidiary gates. This was approached from outside by two staircases, each attached on its side and culminating on a broad, well-balustraded platform. Externally, this gateway is made of red sandstone, but internally it has been built exclusively of white marble. Two more subsidiary gates were provided in the middle of the southern and northern cloister. Both gateways have an arched entrance and they were crowned by three square chhatris.

The marble prayer chamber (sanctuary) on the western side is about 159' x 56' (48.46m x 17.07m) and is three aisles deep with an arcade of seven arches. Massive square piers have been used to support the arches. A beautifully carved and inlaid mihrab has been sunk in the centre of the western or the Qiblah wall. Six arched niches have also been provided in the western wall corresponding to the arches of the facade. The minbar (pulpit) has four steps, instead of the usual three. Out of the twenty-one bays of the chamber, only three have vaulted soffits whereas others have been spanned by horizontal beams. On either sides', chambers for the women worshippers was provided. They were connected to the main hall by monolithic jalies (screen of marble lattice work) which are among the masterpieces of jali (trellis) work. The arcade was protected above by an imposing chhajja. Above the parapet are seven beautiful square chhatris. At each corner of the prayer chamber an octagonal tower crowned by a marble cupola was provided. Similar towers were also provided on the north-eastern and south-eastern corners of the open marble courtyard in front of the mosque. Three graceful bulbous domes crown the prayer chamber. The central dome was a little larger and higher than the other two. The entablature over the front row of arches bears a long Persian inscription in Nastaliq inlaid in black slate.

The Taj Mahal was completed in 1648 A.D. and the construction of the Moti Masjid began the same year. Its construction began in 1648 A.D. and was completed in seven years' time in the 26^th year of Shah Jahan's reign in 1063 A.H. (1654 A.D.) at the cost of Rupees three lakhs. Muhammed Salih, a contemporary historian, has left a commendatory description of this mosque which shows that it was held in high esteem and great importance was attached to it.

This exquisitely carved tower is close to the Diwan-I-Khaas. It was here that Shah Jahan spent last seven years of his life imprisoned by his son Aurangzeb. The tower was considered to provide one of the best views of the Taj but today the pollution has reduced the visibility. The tower is in bad shape today but blank spaces and the empty inlay works give an idea how this building must have looked in those days.

The curved chala roofs of the small pavilions by the Khaas Mahal are based on the roof shape of Bengali village huts constructed out of curved bamboo, designed to keep off heavy rains. The shape was first expressed in stone by the sultans of Bengal. Theses pavilions are traditionally associated with Shah Jahan's daughters: Roshnara and Jahannara Begum.