The Cambridge History of India, Vol. IV: The Mughul Period v4.c23.s4.104

v4.c23.s4.104

After Humāyūn’s tomb, however, the most important building projects of this time were the two palace-fortresses begun by Akbar at Āgra and Lahore. These were the first notable efforts made by this emperor, and were executed “under the superintendence of Qāsim Khān, the overseer of buildings and ships”.¹ Of the fort at Āgra it was said that no such walls had ever been raised before, “from top to bottom the fire-red hewn stones are joined so closely that even a hair cannot find its way into their joints.” They were composed of a massive interior core of rubble and concrete faced with carefully worked blocks of sandstone “linked together by iron rings”. These blocks of stone were laid in alternate courses, a wide course separated by narrow bond-stones, a method of construction which is found in nearly all the buildings of Akbar’s time. The walls of Āgra fort, just under 70 feet high, consist of a continuous stretch of almost unbroken masonry nearly one and a half miles in circuit, the first conception of dressed stone on such a large scale. The somewhat irregular plan of the fort is probably due to the walls having followed the lines of the original Lodī defences of which it took the place, and its position in relation to the river Jumna had also to be considered. From a distance across the river it resembles the stranded hull of a rusty red battleship, its sombre mass relieved by the group of white domes and kiosks of the Motī Masjid rising like armoured turrets above. It is entered by two gateways, the main entrance on the western side, known as the Delhi Gate, being undeniably one of the most impressive portals in all India (Fig. 18). It is the ceremonial entrance to the fortress (the other and smaller gateway of Amar Singh being for private use), and originally its main archway was flanked by two statues of elephants; hence it was often referred to as the *Hāthī Pol* or “Elephant Gate”. As it was finished in 1566 it is one of the earliest of Akbar’s productions, and shows that that emperor’s builders had already realised the high standard that was required of them. It is devised on the usual plan of an archway flanked by two bastions, but it is the masterly manner in which this simple scheme was handled that gives it such an imposing and at the same time artistic appearance. Taking the octagon as his theme, the designer has made the bastions, the vaulted chamber between, and the domed kiosks crowning the battlements all eight-sided in plan. Height was obtained by the whole being in two storeys, with the bastions divided transversely by a balcony on brackets, a projection which gives a most useful line of interruption to the façade. Openings below would only weaken the appearance of a building obviously required for strength, so that except for the main archway the lower storey has no voids, but above the balcony are arched recesses producing the necessary effect of depth and substance. Considerable interest attaches to the manner in which the entire surface of the gateway was decorated; patterns in white marble inlay enrich the arcades and panels, while coloured tiles of winged dragons, elephants and foliated birds add vitality to a composition which in itself is remarkable for animation and strength.