the length of his arms. A Mole which he had on his nose was declared by those skilled in physiognomy to prognosticate a career of good fortune, neither could he be considered unfortunate, who sounded the great drum of sovereign power for a period of sixtyfive years without a rival.”

But let us return to Agra and revisit the Taj. This tomb was erected by the Emperor Shah Jahan in memory of Mumtázmahal Táj Bíbí, the lady of the Taj, named also Nur Jahanlight of the world. On her death-bed she is said to have entreated the Emperor not to marry, that he might avoid dissensions among his children, and to build for her a tomb such as the world had not seen. He fulfilled both wishes; nevertheless, dissensions arose in his family. His third son, Aurungzebe, after defeating him in battle, deposed, blinded him, and kept him in prison several years, where he died. Before these misfortunes the Emperor had completed the Taj-Mahal, and placed in it the remains of his queen. He was projecting a tomb for himself to be erected on the opposite side of the river, and connected with the other by a bridge with balustrades of silver. Of these works nothing was executed but the foundations.

The Taj is approached through the remains of ancient buildings shattered, destroyed, and covered with dust. Passing a dilapidated compound of sandstone corridors into a larger square, you come on the grand portico entrance, to the garden of the tomb. An archway of red sandstone, panelled with white marble inlaid with Persian inscriptions, leads to the dome of the portal, which is traced with marble like a spider's web. But on entering you are brought to a sudden stop, arrested, by the delightful surprise of a new sensation. Not all you have heard has prepared you for, nor has all you have seen anticipated, the charming reality. It stands on a marble platform twenty feet high, which rests on a terrace of sandstone extending the width of the garden,-four hundred yards. At the four corners of the platform, a hundred yards square, stand marble minarets, each two hundred feet high, pillars of ivory. The building, a square, with the corners cut off, thus made octagonal, is surmounted by an oriental dome having four smaller

domes at the corners, terminating in crescent-tipped gilded spires. The material is marble inlaid with flowers and ornaments in mosaic of the Florentine style, and with texts from the Koran. Its history, the names of its architects and illuminators, and the articles used in its construction-crystal, jasper, cornelian, turquoise, agate, lapis-lazuli, coral, rock spar, loadstone, the philosopher's stone, the plum-pudding stone, onyx, chalcedony,

amethysts, sapphires, and diamonds, are enumerated in the Persian character, inlaid on its walls.

"The work as of a Kingly Palace Gate

With Frontispiece of Diamond and Gold

Imbellisht, thick with sparkling orient Gemmes
The Portal shon, inimitable on Earth

By Model or by shading Pencil drawn."

One flower is pointed out containing thirty-six stones of different kinds. But it is superfluous to add that none of the more precious gems remain, and if they ever formed part of the decorations of Nur Jahan's answer tomb, they have been replaced by others of less value. A marble passage leads to the vault where, under a plain sarcophagus, she rests with Shah

Jahan Badshah Gazee, Emperor, Lord of Worlds, Protector of the Poor, Taker by the hand of the Distressed, Most learned and Illustrious, by her side. The domed hall in which are the answer tombs, entered from the platform, is of marble, and its sides are carved in relief with lilies and roses.

The tombs, covered with mosaic, are enclosed within a marble screen of open work exquisitely carved. Nur Jahan's, the smaller, is placed in the centre of the building; and as the pavement of marble and mosaic was arranged to suit its position, the introduction of the Emperor's sarcophagus may mar the general harmony to an artistic eye, but to a less exacting spectator it inspires a remembrance of their history, and tells a story of disappointed hopes.

The garden-walks are paved, it abounds in cypress, orange, and other trees, and a variety of flowers, so that, irrespective of the poetical tomb, it is a delightful place to wander in.

SEVERAL days were passed at Delhi, seeing, unfortunately with unlearned eyes, its surrounding ruins. They fill a circumference of more than fifty miles. India is a graveyard, each step touches a ruin or a tomb, and cities have risen and perished, dynasties flourished and decayed, fabulous treasures been won and lost, and heroic battles lost and won in pre-historic as in modern times, near the stately walls of Delhi. It is, however— although the principal city of the Punjab-very badly provided with hotels. The "Prince of Wales "-closed last year-was managed by Wudgeer Singh, who, inheriting four lacs of rupees, took a fancy to hotel-keeping on liberal principles. When customers pleased the worthy Wudgeer he would to his head clerk say, "Those sahibs, are my friends; treat them well, let them pay nothing." It mattered not what extras were incurred, horses, carriages, entertainments, wines-no bill was sent in. Expostulation at this unexpected, undesired hospitality, threats not to return, unless the customary charge was made, all were idle breath to Wudgeer. He had said it-they were his friends, and bon gré, mal gré, should be his guests. Still more profuse, le added gifts of rare value on special occasions, until the state of his banker's account bid bim pause. He is still well off, but no longer acts the part of Boniface before his hospitable hall.

The palace of the Great Mogul in the fort has been restored, so that, to some extent, we can form a correct idea of its original decorations. A pavilion of white marble, inlaid with mosaic,

forms the hall of audience. Under a ceiling of silver filagree, now supplanted by stucco, it once contained the "Peacock throne, six feet long, four broad, standing on massive pedestals, the whole of solid gold inlaid with rubies, emeralds, and diamonds, and surmounted by a canopy of gold, fringed with pearls, which was supported by twelve pillars emblazoned with gems. Behind were figures of two peacocks with tails expanded, inlaid with sapphires, rubies, emeralds, and stones of colours to resemble their brilliant plumage, and on either side of the throne were placed umbrellas, oriental emblems of royalty, of cloth of gold, fringed with pearls, the handles, eight feet high, of solid gold studded with diamonds. Something like a throne, of which,— the description by Austin de Bordeaux remains.

It formed part of the spoils carried off by Nadir Shah, whose individual share in jewels and other effects was valued at eightyseven millions sterling. Twelve millions and a half fell to his officers and men; and the loss to the Indian Empire, exclusive of buildings, grain, and territory, was a hundred and twenty-five millions sterling, or one "arrib" of rupees. Among the jewels thus transferred to the Shah of Persia was the famous Koh-i-noor.

Looking over the stock of a Parsee jeweller-these dealers carry a large assortment of gems and trinkets about them in numerous little boxes and bags; and Mr. Pestonjee said he had with him that morning jewels worth more than a lac of rupees; he particularly recommended, or wished to dispose of, a sapphire ring, "because it always brought its owner good luck," and of some loose diamonds for reasons equally disingenuous. On explaining that they would be unprofitable as an investment, and out of place on an old man, unacceptable even as a gift, "though perhaps one might accept the Koh-i-noor." Master," he interrupted, seriously; "never take the Koh-i-noor. Koh-i-noor bring bad luck. Look here, sahib Nadir Shah great king, take Koh-i-noor from Delhi, take it to Persia, lose his army, lose his throne, all go wrong till Runjeet Singh get that big bad diamond. Then good luck leave Runjeet Singh. England take all his country, take his Koh-i-noor; send it to England, comes Crimean