[Pramāṇa](https://indike.org/pramana/) › [Studies](https://indike.org/pramana/ins) › [Architecture and art](https://indike.org/pramana/ins.art) › [A History of Fine Art in India and Ceylon, from the Earliest Times to the Present Day](https://indike.org/pramana/ins.art.smith-1911) › c19.s4.3 # A History of Fine Art in India and Ceylon, from the Earliest Times to the Present Day c19.s4.3 A History of Fine Art in India and Ceylon, from the Earliest Times to the Present Day c19.s4.3 - **Language:** English ### [c19.s4.3](https://indike.org/pramana/ins.art.smith-1911.c19.s4.3) But the Musalman architects, who were more restricted than the Hindus in their liberty of decoration, developed the art of designing and executing stone lattices to a degree of perfection unknown to other schools. Endless variations of geometrical patterns, generally pleasing, although wearisome when examined in large numbers, are the most characteristic forms of Muhammadan lattice-work, which is seen at its best in the Gūjarāt (Ahmadābād) and Mughal buildings. The designs both in Gūjarāt and the earlier Mughal work have been often influenced by Hindu tradition. The Muslim artists used the lattice, not only for windows, but also for the panels of doors and for screens or railings round tombs with excellent effect. - [Previous: c19.s4.2](https://indike.org/pramana/ins.art.smith-1911.c19.s4.2) - [Next: c19.s4.4](https://indike.org/pramana/ins.art.smith-1911.c19.s4.4) - [Up: c19.s4](https://indike.org/pramana/ins.art.smith-1911.c19.s4) --- Source: [https://indike.org/pramana/ins.art.smith-1911.c19.s4.3](https://indike.org/pramana/ins.art.smith-1911.c19.s4.3) · Pramāṇa