A Handbook Agra and the Taj Sikandra, Fatehpur Sikri

A HANDBOOK TO

AG RA A N D T HE

KAND FATEH R- IKRI THE SI RA, PU S , NEIGHBOU RHOOD

A H A N D B OO K

A G R A A N D T H E TA J

I KA N D RA FA TE HP R—S I KRI S , U

AND THE NEIGHBOU RHOOD

E . B . HAVELL,

T PRINClPA L, GOVERN DCI N T SCHOOL OF A R , CA I-OUTT A

FE LLOWOF T HE CAKUTTA UN IVERS ITY

WI TH 14: v s TRA TI ON S FROM P H O P HS AN D 4 P LA N S

R E E L O N G M A N S , G N , A N D C O.

P A T E R N O T ER R O W O N D N 3 9 S , L O N EWYORK AN D BOM BAY

1904

All right: m arv el

P R E F A C E

THIS little book is not intended for a history or

e to arch ological treatise, but assist those who

or ra visit, have visited , Ag , to an intelligent under standing of one of the greatest epochs of Indian A rt . f I In the historical part o it, have omitted unimportant names and dates, and only attempted to give such a sketch of the personality of the f greatest of the Great Moguls, and o the times in

e a recia which they liv d, as is necessary for an pp tion of the wonderful monuments they left behind f them . India is the only part o the British Empire

i o where art is still a living reality, a port on f ' the people s spiritual possessions. We, in our

' n aﬂectation of ignora ce and superiority, make

' eﬂ orts s to improve it with Western ideas ; but , o far, have only succeeded in doing it incalculable i harm . It would be w ser if we would ﬁrst attempt to understand it. Among many works to which I owe valuable e ’ information, I should name specially Erskine s v i Preface

’ “ translation of Babar s Memoirs ; Muhammad ’ ” Latif s Agra, Historical and Descriptive ; and ' “ " - Edmund Smith s Fatehpur Sikri. My acknow ledgments are due to Babu Abanindro Nath P l hele Tagore, Mr. A. o w , Executive Engineer,

- to . . H. i Agra, and Mr J Marshall, D rector General e of the Arch ological Survey of India, for kind

a assistance rendered . I m particularly indebted

. ff to Messrs Johnston and Ho man , of Calcutta, for allowing me to make use of their valuable collee th i tion of photographs for e llustrations . “ ’ In quoting from Bernier s Travels , I have ' used Constable s translation, with Messrs. A. ’

8x . T Constable Co s kind permission . o the Editor of the N ineteenth Century a nd After I owe permission to make use of my article on “ " The Taj and its Designers , published in that

R 1 0 . eview, J une, 9 3

C ALCUTTA, C O N T E N T S

HISTORICAL I NTRODUCTI ON — ’ The Great Haber Baha i: Connection with — I Sha e Shah II I .

’ ahmgir s Connection with ’ {l m m s of Shah J ahan s — Agn m d theLater Mognl in theM

THE FORT The Mﬁti

- — — Shish Mabel The mouth Gates The l— TheSalimgu h .

Ta n Ji m MASI ID

The din f the a — In enti n f h T —D ri i buil g o T j The t o o t e aj esc pt on.

’ tr a i n-Wo m a n s Toma

Ta n CHINI- KA -RAUZA

Thea nn Bagh .

SIKAND RA

’ — — Akbar s Tomb The Ranch MM Sm j-Bhamb Bagh ’ Mu inm Zi mﬁni s om T b. viii Con ten ts

Or an Bmw nvos AN D Tomas AT on NEAR AGRA

FATEHPUR SIKRI — — — The Agu Gate TheNaubat Kha n TheMint The DAR“ — — — Khana ThePalace TheKwfibgfih Th ' — — - — - H ouse H akim s Baths Pachisi Board TheDlwnn i Kbfis — — ’ — The Ankh- Michnuli The Y s Sent The H — — ’ Diwan-i-fim The Punch Miriam s ’ ° ’ ' od Bai s ah Bir a ouse or Bir a a J h Pnlaoe hal H , h l — H ouse The nthi Pol and M i Mas id r Cat edra fi fi h nd j , o h l M e ’ Stone-Cntters M osque e H ouses of Abnl

I ND EX LIS T OF I LLU S TRATION S

‘I’ O rm PM

1 PLATE . A Su n : DOCUM ENT wi m S HAH J a m s

P r e 11. m L s om e um s u Sam IAHAN , m o AN O D [ M

L T m m I NN D LH Gu s on Har m POL P A E . ER E I , .

Pu n IV M R BL B LCONY om t oox mo m s I N . A E A , N ER

M IN Bau m G F ur A , A RA o

Pu B Fo 'r n V. THE SAMMAN un] , AGRA a

Pu V -m a n r r un: H NG n : I . I NNER Comm o JA A IRI

M u r . m , AGRA Fou

L T Vl BL N NCLOS NG r un ma P A E l. MAR E SCREE E I To s

or M UMTAZ M ann . AN D S a na JAHAN

’ - - L T Vlll. A LAH S Ton s G P A E I TMAD U D D U , A RA

~ L T lx . 14 7 m e U PP Paw u on ITM AD P A E 1 13 3 101. or ER , ' m D AULAH s Tom ;

P M BL PH G US on THE U r n s Sronv u m ; x . AR E SARCO A

’ T D . or Ax m s on s, SIKAN RA ' PLAu x i tam t n or r m: D tWAN -t-Knxs h u m . o . Su m!

’ ’ PLATE x n. RAJAn Btm L s DAUom n s Hov sz, FAn nPU n SIKRI

E x u i Tn: BA ND D W P PLAT . LA AR AZA, u t na m Si m

PLANS

F 'r P AGRA on . LAN or m s PALAczs

EHP tx t PL N w FAT UR S n . A sno mo m s PosrrtoN or

r un BU lLDlNGS

FA'm a n K PLAN ut N o r : WALL SI RI . s m S AND GATES

HP Stx PLAN r ’ FATE UR nt . o Jonu BAt s PALACE

A G R A

HI STORI CAL I NTRODU CTION

AGRA has two histories : one of the ancient city on or of the east, left, bank the river Jumna, going back so far as to be lost in the legends o f Krishna and of the heroes of the Mahabharata ;

of the other the modern city, founded by Akbar

A O 1 8 on in . . 5 5 , the right bank of the river, and among Muhammada ns still retaini ng its name of i Akbarabad, which is ntimately associated with of a the romance the Gre t Moguls, and known throughout the world as the city of the Taj . Of ancient Agra little now remains except a few traces of the foundation s. It was a place of importance under various H indu dynasties previous

u i of to the M hammadan nvasions India, but its chequered fortunes down to the beginning of the sixteenth century are the usual tale of siege and

or s capture by Hindu Mus ulman , and possess little historical interest .

A D 1 0 In . . 5 5 Sultan Sikandar Lodi, the last but 8 z 1

one of the Afghan dynasty at Delhi , rebuilt Agra f and made it the seat o government. Sikandra,

- of the burial place Akbar, is named after him , and there he built a garden - house which subse one quently became the tomb of Mariam Zamani , ’ of of A kbar s wives . The son Sultan Sikandar,

Ibrahim Lodi, was defeated and slain by Babar

1 26 at Panipat, near Delhi , in 5 , and from that time Agra became one of the principal cities of

the Mogul Empire which Babar founded.

' Though very few memorials of Babar s short

i of but brilliant reign still exist at Agra, the l fe this remarkable man is so important a part of the Mogul dynasty that it must not be passed over by the intelligent tourist or student of ’

l . Mogu art It was Babar s sunny disposition ,

of and the love nature characteristic of his race, that brought back into Indian art the note of joyousness which it had not known since the days

n of Buddhism . Babar is o e of the most striking

ﬁgures in Eastern history. He was descended

' or on from Tamerlane, Timur, his father s side, ’ on Chin hiz and, his mother s, from g Khan . In 1 the year 4 94 , at the age of twelve, he became

with only two hundred men . For almost the only time in his life he gave way utterly to “ I despair. became a prey to melancholy and v exation I was reduced to a sore distressed state " and wept much.

Before long, however, Babar, rejoined by his h mother and grandmot er, whom the captors of t Andijan had spared, aking advantage of another t turn in the wheel of for une, recovered his kingdom

F hana of of arg , but lost the greater part it again " through another desertion of his Mongol rascals. be A second time, with only a handful of men , D surprised and captured Samarkand (A. . I n the following year he rashly sallied out against

the adv er Shaibani , most formidable of his saries , was defeated , and , after vainly trying to hold the city against the victors , was forced to fly under cover of the night. This time he did not weep, but consoled himself next morning by riding a headlong race with tw o of hi s com panions. Reaching a village, where they found

nice fat ﬂesh, bread of ﬁne flour well baked , sweet melons , and excellent grapes in great " n d t abunda ce, Babar declare hat in all his life he never enjoyed himself so much or felt so keenly the pleasures of peace and plenty. He now took refuge among the hills near

U rati a p , ﬁnding amusement in observing the life His torical Introd uction 1

of the villagers , and especially in conversing with the mother of the headman , an old lady o f a hundred and eleven , whos e descendants, to the

of i - ix number n nety s , lived in the country round about. One of her relatives had served in the army with which Timur had invaded India, and she entertained the future Emperor of Hindustan ’ by telling him stories of his ancestor s adventures. After several fruitless raids with the few to troopers who remained faithful him , he allied

himself with his two uncles, Mahmud and Ahmad

of Khan , in an attack against Tambal , one the powerful nobles who had revolted against him

and set up Jahangir, his brother, on the throne

of F arghana. At a critical moment his uncles ft of le Babar to the mercy his enemy, and he was

again forced to ﬂy for his life, hotly pursued by ’ bal Tam s horsemen. He was overtaken by two to of them , who, not daring pit themselves against ’ Babar s prodigious strength and courage, tried

to inveigle him into a trap. Babar gives a

moving description of this great crisis in his life. l Thorough y exhausted, and seeing no prospect

of escape, he resigned himself to die “ There was a stream in the garden , and there I made my ablutions and recited a prayer of two

bowings. Then surrendering myself to medita

I for m tion , was about to ask God His co passion , 8

I when sleep closed my eyes. saw (in my dream) a Khwaja Yakub, the son of Khw ja Yahya, and

‘ grandson of his Eminence the Khwaja Obaid

Allah (a famous saint of Samarkand) , with a on numerous escort , mounted dappled grey horses ,

‘ sa Do not be anx ious the come before me and y, , Khwdj nhas sent meto tellyou tha t hewill support you a nd seatyou on thethrone of sov ereignty whenev er a d ieul occurs to ou remember to be his hel a nd gﬂ ty y , g p, hewill at once res ond to our a ea l a nd v ictor a nd p y pp , y ’ tr h h stra i h a l n r i ump s all g tawy ea toyou side. I awoke with easy heart, at the very moment when Yusuf ’ the constable and his companions (Tambal s soldiers) were plotting some trick to seize and

. n I throttle me Heari g them discussing it, said ‘ All I to them , you say is very well, but shall be curious to see which of you dares to approach ’ I of me. As spoke the tram p a number of horses was heard outside the garden wall. Yusuf the ‘ x constable e claimed, If we had taken you and our ff brought you to Tambal , a airs would have prospered much thereby ; as it is, he has sent a large troop to seize you and the noise you hear is ’ f on the tramp o horses your track. At this asser

a I tion my f ce fell, and knew not what to devise. “ At this very moment the horsemen, who had not at ﬁrst found the gate of the garden, made a breach in its crumbling wall, through His tori cal Introd uction 9

I which they entered. saw they were Kutluk

a Par Ari of Muhammad Barl s and Babai g , two my

i r most devoted followers , w th ten o twenty other persons . When they came near to my person m ff they threw the selves o their horses, and , e t b nding the knee at a respec ful distance, fell at my feet, and overwhelmed me with marks of their ff a ection . “ a I Amazed at this app rition, felt that God i had just restored me to l fe. I called to them at once , Seize Yusuf the constable, and the wretched traitors who are with him , and bring them to me ’ to bound hand and foot. Then , turning my I ‘ ? Who rescuers, said , Whence come you told ’ you what was happening ? Kutluk Muhammad ‘ I e Barlas answered, After found mys lf separated fl Akh s i I from you in the sudden ight from , reached Andijan at the very moment when the e Khans thems lves were making their entry.

‘ I Obaid- There saw, in a dream , Khwaja Allah , “ P adisha h B a bar is at this insta nt who said, in a v illageca lled Ka r man fly thither a nd bring him back h ” with ou or thethrone is is o ﬁ ht. y , f f g Rejoicing at I this dream , related it to the big Khan and little

Khan Three days have we been marching, and

’ thanks be to God for bringing about this meeting.

’ ” trans ated b Erskine. Babar s Memoirs, l y I O

After this exciting adventure Babar rejoined

- i his time serving uncles , but was forced nto exile

1 0 of again in 5 3, when , at the battle Akshi , the

Khans were completely defeated by Shaibani. Then he resolved to depart out of Farghana and

to give up the attempt to recover his kingdom .

Characteristically, when foiled in one enterprise

he entered upon another yet more ambitious . t o t Joined by his w bro hers, Jahangir and Nasir, of and by a motley array various wandering tribes,

he swooped down upon Kabul and captured it. The description of the new kingdom thus easily

won , which ﬁlls many pages of the Memoirs , ' reveals another side of Babar s character— his

intense love of nature . He gives minute accounts of the climate, physical characteristics , the fruits,

ﬂowers , birds, and beasts , as well as of the human

inhabitants . In the intervals between his ba ttles , w or bet een his rollicking drinking parties , which for some years of his life degenerated into drunken

orgies, we often ﬁnd Babar lost in admiration of

u or o f some beautif l landscape, Wc llecting lowers and planting fruit trees . herever he came, ’ Babar s ﬁrst care was to dig wells and plant

fruit and ﬂower gardens . India owes much to the ' of Great Moguls love horticulture. When Babar had drilled his unruly Afghan

subjects into something like order, he made , in His tori cal Introd uction 11

1 06 to 5 , one more unsucc essful attempt crush

. 1 1 Shaibani However, in 5 0, when that doughty warrior was defeated and slain by Ismail , Shah ’ of Persia, Samarkand fell once more into Babar s hands, as a vassal of the Shah. Eight months afterwards he was driven out again . From that time Babar gave up all hopes of re- establishing

of the empire his ancestor Timur, and turned

1 1 his face towards India. I n 5 9 he gathered an army for his ﬁrst expedition , which was , however, more of a reconnaissance than a conquest. Four

1 26 more attempts he made, until at last , in 5 , b with only men , e defeated the hosts of of Ibrahim Lodi , the last of the Afghan kings

f 00 Delhi , who, with o his tr ps, were left dead on the ﬁeld of Panipat.

Thus , after many struggles , Babar became master and conqueror of the mighty empire of " to r Hindustan , but he had ﬁght two more g eat battles before his sovereignty was undisputed

2 one in 15 7 near Fatehpur Sikri , with the great

of hitore chief of the Rajputs, Raja Sanga C , and

1 2 another in 5 9 near Buxar, with the Afghans who had settled in Bengal . The next year Babar died in his garden palace at Agra. The nobility of his character was conspicuous in his death as it was in his life. He was devotedly attached to his eldest son , Humayun , who was seized with malarial 12

fever while staying at his co untry estate at Sam

ha bhal. Babar d him removed by boat to Agra, but his physicians declared that the case was ’ ff hopeless. Babar s own health had su ered much e during his life in India, and he was t rribly W n te agitated by the news. hen some o e sugges d that in such circumstances the Almighty some times deigned to accept the thing most valued t by one friend in exchange for the life of ano her, Babar excla imed that of all things his life was

’ dearest to Humayun , as Humayun s was to him .

so n He would sacriﬁce his ow n life to save his . His courtiers entreated him to give up instead the great diamond taken at Agra, said to be the t most valuable on earth . Babar declared hat no

own i stone could compare in value with his l fe, and after solemnly walking round Humayun 's couch , as in a religious sacriﬁce, he retired to i devote h mself to prayer. Soon afterwards he “ ! I was heard to exclaim , I have borne it away have borne it away ! Humayun began to re be cover, and , as improved , Babar gradually sank. Commending his son to the protection of his friends, and imploring Humayun to be kind and t “ forgiving to his bro hers , the ﬁrst of the Great

of e Moguls India pass d away. He was buried l at Kabu , in one of his beloved gardens, which , to according Tartar custom, he had chosen for

“ one of always appears to me, he says, that the chief defects of H industan is the want of artiﬁcial watercourses . I had intended, wherever I might

c r - ﬁx my residence, to constru t wate wheels, to t produce an artiﬁcial stream , and o lay out an elegant and regularly planned pleasure ground. Shortly after coming to Agra l pas sed the Jum na i with this object in view, and exam ned the country

to pitch upon a ﬁt spot for a garden . The whole was so ugly and detestable that I repassed the river quite repulsed and di sgusted . In co use quence of the want of beauty and of the disagree of the o able aspect c untry, I gave up my intention of making a cha rbagh (garden house) ; but as no

u t better sit a ion presented itself near Agra, I was ﬁnally compelled to make the best of this same spot. I n every corner I planted suitable gardens, in every garden I sowed roses and narcissus regularly, and in beds corresponding to each other. We were annoyed by three things in one Hindustan ; was its heat, another the strong winds, and the third its dust. Baths were the ” of means removing all three inconveniences.

As I have mentioned above, there are very few ’ of vestiges remaining of Babar s city, his fruit and fl a ower gardens , palaces , b ths, tanks, wells and

. 2 watercourses The Ram Bagh (p . 9 ) is o ne of the gardens laid out either by himself or by one

Histori ca l h trod uction 15 of his or nobles , and the Zohra, Zubara Bagh, near

of - it, contains the remains a garden house, which is ' oneof said to have belonged to Babar s daughters. Opposite to the Taj there are traces of the found a

o of t . ti ns the ci y he built Babar planned, and his n successors completed , the great road leadi g from r to Ag a Kabul through Lahore, parts of which s till remai n. Some of the old milestones can be ' n seen o the road to Sikandra. Babar s account of the commencement of it is very characteristic “ th i l On Thursday, the 4 of the latter Reb a, Chikmak directed Bey, by a writing under the ‘ to royal hand and seal, measure the distance from Agra to Kabul ; that at every nine has he should

mina r or ee i raise a , turret, twelve g in he ght, on the top of which he was to construct a pavilion ;

has a m or that every ten he should erect a y , post

i dab-choki house , wh ch they call a , for s ix horses ; that he should ﬁx a certa in allowance as a pro

- vision for the post house keepers, couriers, and i grooms, and for feed ng the horses ; and orders were given that whenever a post- house for horses

s h u Em rs i u TheStatedocument of t eMog l pero , g ven nder the ” hand and se ere sometimes actua im ressed b royal al, w lly p y th e

r l hand. P ate l re roduces art of a lette addressed oya l . p p n by h ah ah an to an ancestor of the resent ahara ah of Gidhour S J p M j . “ In this letter the Raja Dalan Singh is informed that the w e ” picious impress of the royal hand is sent as a ma rk of royal a i mmanded to ro c to ourt to artici f vour, and he s co p eed C p patein h m ror t efestivities and to pay homageto theE pe . 16

hha lseh was built near a , or imperial demesne, they should be furnished from thence with the stated allowances ; that if it were situated in a

er unna p g , the nobleman in charge should attend to hik a d the supply. The same day C m k Pa shahi f le t Agra. The promptness of Babar's administrative methods is a striking contrast to the circu mlo

i - m cut on of present day departmentalis . There of i sam i s or still exist remains many splend d ,

h t - ff al ing places, built along this road by di erent

Mogul Emperors for their convenience, from the

zt of time of Babar down to A urang b. One the n ﬁnest is the Nurmahal Sarai , ear J alandhar, built f by Jahangir and named after his favourite wi e .

r Edwa d Terry, who accompanied Sir Thomas Roe, m ' ' Ja es the First s ambassador at Jahangir s Court, “ of describes the long walk four hundred miles , ” n shaded by great trees o both sides, and adds, “ this is looked upon by the travellers who have found the comfort of that cool shade as one of the rarest and most beneﬁcial works in the whole

world.

ll H . . umayun

of Humayun, who succeeded Babar, had m any ' of his father s amiable qualities , but none his genius as a leader of men . He utterly failed in the His torical In tro d ucti on 17 attempt to consolidate the great empire which

1 Babar had left him , and in 5 39, or nine and a half hi e years after s acc ssion , he was completely

r defeated at Kanauj by She e Khan Sur, an Afghan

re nobleman , who had submitted to Babar, but

v olted against his son. Humayun found himself a en fugitive with only a handful of m , and was

out eventually driven not only of Hindustan , but even from the kingdom of Kabul; He then took

f . re uge with the Shah of Persia Shere Khan Sur,

under the title of Shere Shah , ruled at Agra until

he died , ﬁve years afterwards. His son , Sal im

Shah , or Sultan Islam , succeeded him , and reigned

n between seven and eight years, but o his death the usual quarrels between hi s relatives and u who in generals gave Humay n , the mean time had

got back Kabul with the aid of a Persian army, the opportunity to recover his position in Hindu ' in 1 stan. This occurred 5 5 5, but Humayun s unfor tuna te reign terminated the same year th rough a l fatal fall from a staircase in his pa ace at Delhi.

Humayun left no memorial of himself at Agra, but he is to be remembered for two circumstances

the ﬁrst, that he was the father of the great Akbar, him who succeeded ; and the second, that the plan i of his tomb at Delh , built by Akbar, was the model

on which theplan of the Taj was based . 18 Am

lnterregnum : Shere Shah .

e Sh re Shah was a great builder, and a most

a I f c pable ruler. n his short reign o ﬁve years he initiated many of the great administrative reforms which Akbar afterwards perfected. Fergusson , in “ " of his History Indian Architecture, mentions that in his time there was a fragment of a palace “ built by Shere Shah in the Fort at Agra, which was as exquisite a piece of decorative art as any ” of its class in India. This palace has since been

a destroyed to make room for a barr ck , but pro bably the two- storied pavilion known as the Salimgarh is the fragment to which Fergusson ’ i of r refers . The only other bu lding She e Shah s time now remaining in Agra is the half- buried mosque of Alawal Bilawal , or Shah Wilayat, in

- r ndi the N a i li M a quarter (see p . ' as seram Shere Shah s tomb at S , in Bihar, is

of oneof the noblest monuments the Pathan style, or the style of theearliest Muhammadan architects in India.

I II Akbar .

“ n Akbar, the Great, was born at Amarkot, o

of the edge the deserts of Marwar, about three years

his after the battle of Kanauj , when father Humayun was a fugitive, driven from place to place by the

3 0

i pr ompt in decision and in action . Adopt ng ’ h all Bairam s advice , which was contrary to t at of

ut o his other counsellors , he left Kabul o of acc unt, u and pushed on to Delhi against the forces of Hlm ,

his a Hindu general , and the most powerful of foes,

Bi a it who had assumed the title of Raja kram j , with the hopes of restoring the old Hindu dynasty. On the historic plains of Panipat Akbar completely ' Himu s defeated army, and thus regained the empire which his grandfather had won on the same

ﬁeld thirty years before. This great battle was u the most critical point in his career, and tho gh Akbar had to undertake many other hard cam n of paig s before he was absolute master the empire, his position from that time was never seriously

endangered. Until his eighteenth year Akbar remained under un the tutelage of Bairam , an able general , but

- r scrupulous and cruel. The high minded, gene ous disposition of Akbar revolted again st some of his ' i guardian s methods, but he recogn zed that, for ’ neces some years at least, Bairam s experience was

. 1 6 sary for him In 5 0, however, he took the

ad ministration entirely into his own hands. Bairam ,

u in disg st, took up arms against his young master,

but was soon defeated and taken prisoner. With his

usual magnanimity, Akbar pardoned him , and sent him off to Mecca with a muniﬁcent present ; but Histoﬂ a l 111d t 2 1 the revengeful knife of an Afghan put an end to

’ the turbulent nobleman s life before he could leave

India.

Akbar spent the rest of his long reign in elaho a rating the admi nistrative reforms which have made him famous as the greatest ruler India has ever

. f had With the aid o able ministers , both Hindu d and Muhamma an , he puriﬁed the administration

of own justice, keeping the supreme control in his hands ; enjoi ned absolute tolerance in religious

r matters ; abolished oppressive taxes, and e organized and improv ed the system of land rev enue a introduced by Shere Shah . A minute ccount of ' Ak ar s of b reign , his policy, habits, and character, “ ” - is given in the Akbar nama, the history written

by his devoted friend and Prime Minister, Abul

of ff too Fazl. No detail state a airs was small for ’ Akbar s personal attention . Ability and integrity o were the only passports t his favour, while to bigotry and injustice were anathemas him.

Like Babar, he was fond of horticulture, and imported many kinds of fruit tr ees and ﬂowers into India. Though he could neither read nor write, he had a great library of Hindi , Persian ,

and Arabic, Greek, other books, and Abul Fazl relates that every book was read through to him

from beginning to end. The most remarkable of all this remarkable man ’ s 2 2

intellectual activities were his attem pts to bring about a reconciliation of all the discordant reli

io s f Bada unt f u o . o g elements his empire y , one his

i u contemporary histor ans, but, nlike him , a bigoted ' n Akbar s Musalman , comments thus o religious “ views : From his earliest childhood to hi s man

to old hood , and from his manhood age, his Majesty

has passed through the most various phases , and through all sorts of religious practices and sectarian

beliefs, and has collected everything which people

o of can ﬁnd in b oks, with a talent selection peculiar to him and a spirit of inquiry oppo sed to every

(Islamite) principle . Thus a faith based on some elementary principles traced itself on the mirror o f l of his heart , and, as the resu t all the inﬂuences

on which were brought to bear his Majesty, there

on grew gradually, as the outline a stone, the conviction on his heart that there were sensible men in all religions, and abstemious thinkers and men endowed with miraculous powers among all n nations. If some true k owledge were thus every where to be found, why should truth be conﬁned

ne or r to o religion , to a c eed like Islam , which was comparatively new, and scarcely a thousand years old ; why should one sect assert what another

one denies, and why should claim a preference without having superiority conferred upon itself ? Near to his palace at Fatehpur Sikri he built an His torica l ln trod ucﬂ on 2 3

Ibadat Khana, or Hall of Worship, for the dis

cuss ion of philosophy and religion . There he

o f received representatives all religious sects,

Muhammadans, Brahmans, Jains, Buddhists, Parsis, h Jews, and C ristians, and listened attentively to

their arguments . He studied deeply religious

books , and had the New Testament translated into

. a Persian He also invited Jesuit priests from Go , and not only allowed them to build a church at

Agra, but even attended a marriage service and

o f interpreted the words the sermon to the bride. “ BadAyu nI says that his Majesty ﬁrmly believed in th i the truth of e Christian rel gion , and wishing to

of e n spread the doctrines J sus , ordered Pri ce Murad (his son) to take a few lessons in Chris "

tian it . y by way of auspiciousness The Jesuits , i how ever, did not succeed in mak ng Akbar a con i vert, for when his rel gious convictions were at

last settled , he proclaimed as the state religion a

D i n- i - o r kind of eclectic pantheism called ilahi , “ n ” Divi e Faith , with himself as the chief inter

preter. Dispensing with all forms of priesthood ,

of he simply recognized One God, the Maker the ’ e Universe, and himself as God s vic gerent on earth .

He rejected the doctrine of the Resurrection , and

accepted that of the transmigration of so uls. The

s Islamite prayer were abolished , and others of a

more general character were substituted for them . 2 4

The ceremonial was largely borrowed from the

H indus. “ i on The Div ne Faith had no hold the people, and its inﬂuence ceased with the death of its

on founder. It is even said that Akbar, his death d bed , acknowledged the orthodox Muhamma an

r on r . c eed , but the evidence this point is un eliable

’ Akbar s religious system had an important political

heari n o f g, for the keynote his whole policy was the endeavour to unite with a bond of common

interest all the diverse social, religious, and racial

elements of his empire. He overlooked nothing

which might further the object he had in view. He chose his ministers and generals indiscriminately

ct or from all his subje s , without distinction of race l religion . He a lied himself in marriage with the

‘ royal Hindu families of Rajputan a. He sat daily on the judgment seat to dispense justice to all

who to i chose to appeal him , and , l ke the famous

- al- on Harun Rashid , he would at times put dis

and guises wander unattended among the people, to keep himself informed of their real condition l and to check the malpractices of his oﬂi cia s . Though Akbar unavoidably had bitter enemies among the more bigoted of his Muhammadan sub

ects o of j , his wise t lerance all beliefs and the generosity of his policy for the most part disa rmed

n hostility from all sides . Certainly o ru ler of India Histori ca l In tro d u cti on 2 5

before or since succeeded so far in carrying out hi s object. He is still one of the great popular heroes of Hindustan ; his mighty deeds in war and in c s the ha e, his wise and witty sayings, the splen

of his dour his court, his magnanimity and justice, still live in song and in story.

d on 1 Akbar die in the Fort at Agra October 3,

160 ﬁft - ﬁrst of 6 5 , in the y year his reign , aged 3 .

He was buried at Sikandra, in the mausoleum commenced by hi mself, and ﬁnished by his son and successor, Jahangir.

of as The modern city Agra, stated previously ,

1 8 old was founded by Akbar in 55 , opposite to the city on the left bank of the river. He built the

the of Fort, on site of an old Pathan castle, and part i the palace with n it. Agra was the seat of govern

ment during the greater part of his reign. He also built the great mosque and the magniﬁcent palaces of and public buildings Fatehpur Sikri , which are

of t of among the most famous heantiquities India.

. i IV Jah ang r.

of i The eldest surviving son Akbar, Pr nce Sali m ,

in 16 on his accession to the throne 05 , assumed the 2 6 Ag ra

- d- title of Nur u din Jahangir (Light of the Faith ,

Conqueror of the World) .

He was passionate, cruel , and a drunkard, but f not without ability and force o character. As Prince Sal im he had instigated the assassination

of the Prime Minister, Abul Fazl, and probably ' hastened his own father s death by his violent

conduct. There was, however, a reconciliation at

the end , and Jahangir endeavoured to atone for his

’ behaviour by lavish expenditure on A kbar s tomb

at Sikandra. He has also left many pious tributes ’

to his father s memory in his autobiography. ' J ahangir s favourite wife was the celebrated N ur

Mahal , who for twenty years was almost the

supreme power in the imperial court. Her beauty attracted his attention while he was still Prince

i r Sal m , but Akbar, disapproving ofher as a daughte “ ih - Afs an law, gave her in marriage to Sher , the ” lion killer, a nobleman of Burdwan . After his accession , having treacherously procured the death of her husband, Jahangir had Nur Mahal removed

of to Agra and placed under the care his mother . ' For many years she repulsed all Jahangir s over tures, but when at last she consented to be his queen she became his most devoted wife. She accompanied on him all his travels, and Jahangir consulted her

ff . in all important a airs of state Sir Thomas Roe,

’ ir t s e n James the F s ambassador, describ s Jaha gir

2 8

The violent temper of Jahangir was inherited ft by his son , Prince Khurram , a erwards Shah of Jahan , and the peace his reign was frequently disturbed by open rebellion o n the part of the

162 t d Prince. In 3 Shah Jahan ac ually sacke Agra, and his soldiers committed fearful atrocities on the inhabitants. He failed , however, to capture the fort , which contained the imperial treasury, and ’ own Jahangir, no doubt remembering his father s leniency towards himself, forgave his unruly son .

162 Jahangir died in 7 , and was buried at Shah dara, near Lahore, in a magniﬁcent tomb prepared by Nur Mahal . She herself retired to Lahore ,

16 8 and, though she lived till 4 , ceased to take any ff t part in state a airs af er his death . She was ’ buried by her husband s side at Shahdara

’ s o neti t Jahangir c n c on wi h Agra.

Jahangir for a great part of his reign held his

or court at Lahore, at Kabul. The chief monu ' or ' ments of his reign at, near, Agra s t e Akbar s ' - - tomb at Sikandra (p . and Itmad ud daulah s

tomb (p . already mentioned . Part of the

Agra Palace, the Jahangiri Mahal (p . is named u after him , tho gh it is most probable that it was ’ A kbar s really built in reign .

- S AH H RO AN o w 1N n i AN M N AT U RE P LAT E I I . H A AN M I I . J , F His torical In trod uction 2 9

There are a few minor buildings of Jahangi r s

the of time in Agra, such as baths Ali Verdi Khan

Chi itollah of Motamid in p Street, the mosque Khan the i in Kashm ri Bazar, and the tower known after

of the name Boland Khan , the chief eunuch of ’ ar Jahangir s palace. These are of purely chmo logical interest.

V. Shah Jahan .

’ Shah Jahan , on his father s death, though only of t fourth in right succession to the hrone, speedily disposed of his brothers by means very commonly m adopted in Oriental royal fa ilies, and was en 6 throned at Agra in 1 4 8. Immediately afterwards

0 who he wreaked his vengeance 9 the Portuguese, had taken part against him in his rebellion against H li e h . Jahangir, by d stroying their settlement at ug on i The next year, while an exped tion to suppress the i disorder in Deccan , he lost his favourite w fe ,

t Ta . Mum az Mahal , the lady of the j For a long time the Emperor abandoned himself entirely to f grief, and he remained aithful to her memory until

his death . The actual building of the Taj commenced in

2 16 8 A uran zib 163 . From this date until 5 , when g

us urped the throne, was the most magniﬁcent

period of the Mogul dynasty. The whole empire 30

enjoyed comparative peace and prosperity. Shah Jaban 's just and liberal government continued his father’s and grandfather’s policy of tolerance towards the Hindus, and his administration,

a though conducted with gre t pomp and splendour, did not press hardly upon the people. It was one of the greatest epochs of Indian architecture ; besides the Taj Mahal, the buildings erected during these years include four of the masterpieces of — the Mogul period the J ami Masjid, or Cathedral

of or Mosque, Delhi ; the Muti Masjid, Pearl of Mosque, Agra ; part of the Agra Palace, and the great palace at Delhi, of which only a small portion now exists. It is said that as Shah Jahan advanced towards old age he abandoned himself more and more to a

- i life of pleasure and self ndulgence, but his last years were darkened by the same kind of family intrigues through which he himself had gained the throne . In 1657 the serious illness of the Emperor brought these intrigues to a head. His eldest son by h b Mumtaz Mahal, called Dara S iko , a gracious and

i of generous Pr nce, but headstrong and intolerant

. i i advice, was appointed Regent On receiv ng th s intelligence, his younger brothers, Shuja, Viceroy of Bengal, and Murad , Viceroy of Gujerat, declared their independence, and marched upon Agra.

Auran ztb g , the third son, a religious bigot, but the His torical ln trod ucti on 3 1

f ablest and most virile o the brothers, hastened to join them , and being placed in chief command , attacked Dara's army close to Agra and completely

defeated him . Three days afterwards he entered

C the city. Shah Jahan sent his hamberlain to

‘ order him to leave the city at once and return to

A uran zi ff his post in the Deccan , but g b, a ecting

to believe that his father was dead, disregarded the

order. He succeeded by bribes and promises in bringing over some of the principal nobles to his

f Rush anara side, and being well i n ormed by , his

younger sister, who was his equal in cunning and

on artiﬁce, of all that went in the palace, he bafﬂed ’ on Shah Jaban s attempts to lay hands him . At

last, under pretence of arranging an amicable

h A uran zi meeting with his son Ma mud, g b beguiled Shah Jahan into withdrawing his troops from the

Fort. Mahmud immediately forced his way in with a picked body of men and seized the person

of the Emperor. The plan succeeded so well that

no attempt at a rescue was made . h The French traveller Tavernier, w o has left a

f of : complete record o the time, writes this event “ It is most surprising that not one of the servants of the grand King offered to assist him ; that all

u his subjects abandoned him , and that they t rned

their eyes to the rising sun, recognizing no one as

king but A u rangzib . Shah Jahan , though still 3 2 Am

living, passed from their memories . If, perchance , there were any who felt touched by his misfortunes , e fear made them silent , and made them bas ly abandon a king who had governed them like a h father, and with a mildness whic is not common u with sovereigns. For altho gh he was severe enough to the nobles when they failed to perform their duties , he arranged all things for the comfort of the people, by whom he was much beloved , but " who gave no signs of it at this crisis. Shah Jahan remained conﬁned in a set of apart of n e ments the Agra Palace for seve y ars . He

1666 died in , and was buried by the side of Mumtaz

Mahal in the Taj . His captivity was shared by his

ahanara favourite daughter, J , who since the death of her mother had ruled the imperial household i and taken a prom nent part in state affairs . She D had actively supported the cause of am , and thus

A z incurred the resentment of urang tb. On her ' father s death she retired to Delhi, and she lived

168 1. there until Her simple grave, covered with

z grass , is in a quiet corner of the courtyard of Ni a ’ m udin s tomb, near Delhi, where the memory of her ﬁli al piety adds to the poetic charm of all the

s urroundings .

accompanied Aurangzib on the march from Delhi to Kashmir “ Stretch imagination to its utmost limits, and you can conceive no exhibition more grand and

s r - u t impo ing than when Rauchena a Begum , mo n ed on a stupendous Pegu elephant and seated in

mihd er a emb , blazing with gold and azure, is followed by ﬁve or six other elephants with

mihdembers wn nearly as resplendent as her o ,

. and ﬁlled with ladies attached to her house

hold. Close to the Princess are the chief c l eunu hs, richly adorned and ﬁne y mounted , each with a wand of ofﬁ ce in his hand ; and surrounding her elephant a troop of female

s Ta rta rs Kachmer s servant , and y , fantastically

- attired and riding handsome pad horses. Besides

’ d k these atten ants are several eunuchs on hors ebac ,

of a s accompanied by a multitude p gy , or lackeys,

on foot, with large canes, who advance a great t way before the Princess, both o the right and of left , for the purpose clearing the road and

driving before them every intruder. Immediately ’ behind Rauchenara- Begum s retinue appears a

of u principal lady the co rt, mounted and attended

a in inuch the same m nner as the Princess . This i lady is followed by a th rd, she by a fourth , and

n u so o , ntil ﬁfteen or sixteen females of quality

o f pass with a grandeur appearance, equipage, and His torical I n trod uction 35

or retinue more less proportionate to their rank , fﬁ e pay, and o ce . There is something v ry impres sive of state and royalty in t he march of these

s sixty or more elephant ; in their solemn and, as it were, measured steps, in the splendour of the mikdembers l , and the bri liant and innumerable followers in attendance ; and , if I had not regarded this display of magniﬁcence with a sort of philo ff sophical indi erence, I should have been apt to be carried away by such ﬂights of imagination as inspire most of the Indian poets when they represent the elephants as conveying so many " goddesses concealed from the vulgar gaze . Dramatic justice overtook the scheming Princess

. 166 A uran zi at last I n 4 g b fell dangerously ill ,

Rushanara be and, while he was unconscious, ,

lieving him to be dying, abstracted the signet

ring from his ﬁnger and iss ued letters , as under

the royal seal, to the various Viceroys and

v f Go ernors , setting aside the succession o the Emperor’s eldest son by a Rajput Princess in

b M uham favour of another son , a oy of six , by a

i to madan sultana. She hoped by th s means keep the supreme power in her own hands during the

A ran zlb long minority of the new Emperor. u g

u unexpectedly recovered , and became s spicious

of his dangerous sister. The host of enemies

’ — ’ Bernier s Travels Constables translation. 36 she had created at court were not slow in taking

of Rushanara advantage the situation , and soon — afterwards disappeared removed, it is said , by

poison .

A r z in u ang tb ruled with a ﬁrm hand , and strict justice according to the law of Islam , but of though a man of great intellectual powers, marvellous energy and indomitable courage , he was wanting in imagination , sympathy, and fore

f . sight, the highest qualities o a really great ruler

He checked the dissolute conduct of the nobles, and set an example of industry and devotion to duty ; but his narrow, bigoted disposition inclined

i s him to distrust even h s own ministers , o that, unlike his three predecessors, he was badly served by the lieutenants in whose hands the administra of i tion the prov nces rested. He surrounded himself with religious bigots of the Sunni sect of a Muhamm dans, who aided him in bitter perse cution of of the Hindus. Hardly anything artistic or architectural interest was created under his patronage. Most of the great artists who attended ' Shah Jahan a court were dismissed as unorthodox

r r o heretics, and many noble monuments we e mutilated by the Emperor's fanatical followers on the ground that they contravened the precept of the Koran which forbids the representation of animate nature in art. His tori cal I nt rod uction 37

1 0 - of He died in 7 7 , eighty nine years age .

The Mogul empire, surrounded by hordes of the enemies his bigotry and intolerance had created , was already tottering to its fall, and the star of the British raj was rising. Seventeen years before his death he had granted to Job Charnock a piece of S uta nati land at , the site of the future capital of our Indian empire .

Agra and the Later Mogul E mperors Agra played a very small part in the history of the weak- minded and dissolute successors o f

Fir kh shi ar 1 1 n zlb . o A ura g y , who reigned from 7 3

1 1 r . to 7 9, esided occasionally there After his death disputes between various claimants to the throne led to Agra Fort being besieged and

n on captured by Husein Ali Kha , a partisan of e of them , who looted the treasury of all the valuables deposited there during three centuries . “ There were the effects of Nur Jahan Begum and Mumtaz Mahal , amounting in value, according two to various reports , to or three crores of rupees . There was in particular the sheet of pearls which Shah Jahan had caused to be made for the tomb

of of Mumtaz Mahal , the value of several lakhs of S rupees, which was pread over it on the anniversary and on Friday nights . There was 38

the ewer of Nur Jahan and her cushi on of woven f gold and rich pearls, with a border o valuable " i t garnets and emeralds . (Ell ot )

1 of In 7 39 Nadir, Shah Persia, sacked Delhi, ’ carried off Shah Jaban s famous peacock throne,

and laid Agra also under contribution. The

1 6 Mahrattas next appeared on the scene. In 7 4 of the Jats Bharatpur, under Suraj Mal, captured

Agra, looted the Taj , and played havoc with the

palaces in the Fort. They were joined by Walter

Reinhardt, an adventurer, half French and half

of German , who sold his services for any work infamy, and had only recently assisted in the murder of the British Resident and other Europeans

at Patna. He afterwards entered the Mogul

of service, and was rewarded by a grant a tract of country near Meerut, which remained in the

of his i possession fam ly until recent times. He

1 8 died at Agra in 77 , and was buried in the Catholic

cemetery. For the next thirty - nine years Agra was ocen pied by Mahrattas and by Mogul imperialists in

u f turn . John H essing, a D tch oficer in the employ

of of 1 the Mahrattas, was Governor Agra in 794 ,

2 x and died there in 180 . The ne t year it was t cap ured by the British under General, afterwards 18 Lord, Lake, and from that time until 57 its

history was uneventful . His torical I ntrod uction 39

Agra in the Mutiny. Agra did not take any prominent part in the of events the Mutiny. A mob plundered the city,

ff of burnt the public o ices, and killed a number Europeans ; but the rioters left soon to join l their comrades at De hi . There was a small engagement outside the city. The British troops and the whole of the European population were afterwards shut up in the Fort until the capture

- of . Delhi. The Lieutenant Governor, Mr John

Russell Colvin , died there, and was buried in front of i - i- am the D wan . TH E FORT

Ti ts present Fort was commenced by Akbar in

1 66 on of one 5 , the site an older constructed by

i s on of . Sal m Shah Sur, the Shere Shah Its i vast walls (seventy feet in he ght , and a mile and

u a half in circ it) , its turrets, and noble gateways present from the outside a most im posing appear w l ance . It contains within its a ls that most

of exquisite mosques, the Muti Masjid, and the

palaces of Akbar and Shah Jahan . The principal

r o north entrance is the Delhi Gate , nearly opposite to the railway station and the J ami

Masjid. Formerly there was a walled enclosure

of Tri ulia in front this gate, called the p , or Three

Gates, which was used as a market. This was

18 cleared away by the military authorities in 7 5 . Crossing the drawbridge over the moat which sur rounds the Fort , the visitor passes the outer gate,

i r and by a paved incl ne reaches the Hathi Pol, o Elephant Gate (Plate so called from the two stone elephants , with riders, which formerly stood

o n outside the gate, the highest of the platforms

Th e Port 4 1

on either side of it. The statues and elephants

A z were thrown down by order of urang lb. There are four hollow places in each platform , where ‘ the legs of the elephants were morticed into it.

These elephant statues have been a vex ed point with lo i B rni in his descri tion of Dehi reers to archa o g sts . e er, p l , f ha f s i h ri r outsideof the ort two great elep nts o tone, w t their des, F

. Th rid rs h sa ere or r its of thefamous a ut Gates e e , e ys, w p t a R jp

chi s a m l d P s ain b A ar at thesie e of Chitose. ef J y a an atta, l y kb g “ Their enemies, 1n admiration of thedev otion of thetwo hero es, ” u u th m m N rnier oes sa p t p thesestatues to eir e ory . ow, Be d not y th at the s u r u u b r but G n r unnin m tat es wee p t p y Akba , e eal C gha , in errin i m n h i ro ounded a r h h f g that Bern er ea t t s, p p theo y t at t ey ori ll f h r F r which b were gina y in front o t eAg a o u Akhar uilt, and remo ed hi hah h n hen he ui t his new v to Del by S J a a , w b l palace t who discusses the uestion at en th in h is here. Keene, q l g “ ” H n o su stion. a dbook t Delhi, accepts this gge N either of these authorities seem to ha vebeen awareof theex istenceof themarks of the h in r he A ra Hathi P feet on t e platform f ont of t g ol. I have compared the measurements of these marks with the di hi mensions of theelephant which still ex ists at Del , and find that he r s nd i an wa The ehi ee hant is t y do not co re po n y y. D l l p a muc r nim n ou d not su mo the at orm at the h la ger a al, a d w l pl f ’ A n unni h m s theor thereore a s to the gra gate. Ge eral C ng a y, f , f ll roun I i hi hants ereintended g d. t is j ust poss ble tha t theDel elep w t A r hah han i to be copies of th ose placed by Akbar a g a. S Ja s not llkely to hav e intentionally perpetuated the memory of the a u ch i bu i ion or ima ina tion ma a e R jp t efs, t popular trad t g y h v i s u s E e h n s mstened thestory told by Bernier on to theD elh tat e . l p a t wereso oommonly placed in front of Ind ian palaoes and fortresses tha wonld be no need to su os n t, ex cept for this story, there pp ea y connection between thoseat Agra and th oseat Delhi. ' P ‘Vi lli Finch who isited A ra in ahan ir s urchas, quoting am v g J g ' tim h a Pol but i es a diflerent e, describes theelephants at t e H thi , g v “ ori in t Be ond t esetwo ates ou ass a second g o thestatues . y h g y p i he ate ov w in . It is sa d t at t g , er which are t o Rajaws stone h y ere s to a rince t eir ne e hom w two brother Rajputs, tutor p , h ph w, w the in e reused and erecommittfi K g demanded of them . Th y f , w ; 4 2 Han d book to Am and th e Te]

The gate is a ﬁne example of the early Mogul

kha na style ; it contains the N a ubat , or music

gallery, where the royal kettledrums announced ’ e r the Emp ror s arrival o departure, and all state

- functions. It was also a guard house, and pro f bably the quarters o a high military ofﬁcer, but it is certainly not, as the guides have it, the “ " “ ” or Darshan Darwaza, Gate of Sights, de

scribed by William Finch , where the Emperor Jahangir showed himself at sunrise to hi s nobles i l and to the multitude assembled n the p ain below. The Darshan Darwaza was undoubtedly near the

old - to disused water gate , which was joined the f royal apartments o the palace by a private passage, ' “ and answers to Finch s description of leading " into a fair court extending along the river. The Elephant Gate is at a considerable distance from

the palace, and was never connected with it, except

by the public road . It is worth while to climb the top of the gate

on by the staircase the right, inside the Fort.

of There is a ﬁne view the Fort , and beyond the

walls the ever- beautiful white domes of the Taj

Itmad- ud- daulah appear in the distance. The is

i rs s e and but drew on theoﬁ ce , lew twelv , at last, by multitucles r h m s es s in and h r ha oppressing, wee t e elv la , ee ve elephants of ” “ ” d The x ression o stoneand them selves ﬁgure . e p ver (thegate) “ ” he meanin of h i h u and not as eene su oses i has t g g p, , K pp , ts “ ” moremodern senseof on the t0p of.

Th e M ﬁtl M as/Id 4 3

on visible the left . Towards the town you look down into the quadrangle of the J ami Masjid The pavilions on the summit of the great octagonal towers ﬂanking the gate are ﬁnely carved, and f n bear traces o painting and e amelled tilework.

one Descending the staircase to the ﬂoors beneath , can wander through the curious small chambers and out on f look from the balconies the front o the gate .

The was M asjid . The road to the left after passing the Elephant

of Gate leads up to the entrance the Muti Masjid , " or on Pearl Mosque, placed the highest point ‘ You on of the Fort enclosure. pass the left a ’ t building known as Dansa Jat s house, said o have been occupied by the Rajahs of Bharatpur when the Jats held the Fort . It has been made hideous by modern additions which have con ' c verted it into ofﬁ ers quarters . The entrance to the M uti Masp d is very plain one and unpretending, so that is hardly prepared ff for the beauty, purity, and the una ected ex pression of an exalted religious feelin g which characterize th e interior. It is rare to ﬁnd an Indian building in which the effect is produced

Theold Mogul road led directly from the Elephant Gateto

o - theentranceof thet an i am . I understand that this road will berestored shortly by theArchaeological Department . ‘ 4 4 Hm d book ro Ag r-a ea d th e h l

with hardly any ornament, but solely by the

of perfection of proportions, beauty material , and

i . r harmony of constructive des gn The courtya d ,

and in front of the mosque, with its arcades gate

s ways, is a noble setting to the Pearl , as the mo que is appropriately called There is a subtle rhythm in the placing of the three domes over the seven s arches of the mosque, which aves the whole i design from monotony, wh le the marvellous grace

of h of the contours, which is so c aracteristic the

’ o ﬁnest of Shah Jaban s buildings, makes each d me grow up from the roof like a ﬂower-bud on the

point of unfolding. The octago nal pavilions at the

of four corners the mosque, and the dainty little kiosques placed as decoration over the arches and of over the gateways the courtyard, echo the

h arm onics of the larger constructive details, and

give completeness to the compo sition. The interior of the mosque owes its dignity to the same greatness of style and perfection of

the proportions . The three aisles are formed by

massive piers of single blocks of marble . With

all its simplicity, there is consummate art both in the placing of the ornament and in the beautiful f springing o the arches from the supporting piers.

The ﬁne workmanship is worthy of the art. On either side of the mosque there is a small

chamber for the ladies of the zanana, with a

4 6 Han dbook to Am and th e Te]

T :11a e 33 m (obeisance). Right under the place wh re t ff he looks ou , is a kind of sca old, whereon his

' A dd ts nobles stand, but the with others await below in the court. Here also every noone he

’ Ta mashdh of looketh forth to behold , or ﬁghting

B s Elephants, Lyons, uﬁle , killing of Deare with

’

Leopards, which is a custom on every day of the weeke, Sunday excepted , on which is no ﬁghting ;

on o of but Tuesday, the c ntrary, is a day blood , both of ﬁghting beasts , and justiced men , the King ” judging and seeing executions .

Th D -i- e iwan i m.

The road now turns towards the right , through

i - the M na Bazar, the old market place , where mer l chants disp ayed jewellery, brocades, and similar stuffs for the nobles and others attending the court . A gateway leads into the great courtyard

of Dlwan- i- am or of the , Hall Public Audience , h c w ich, with its surrounding ar ades, was for a long time used ‘ as an armoury for the British

1 6 garrison . The hall itself was restored in 87 by

- Sir John Strachey, then Lieutenant Governor of

- the North West Provinces. The courtyard has

recently been put back, as far as possible, into its ' original condition by Lord Curzon s orders . A further great improvement has been made by the Th e Di v an - lo i n: 4 7 removal of the hideous modern additions which entirely co ncealed all the arcades. l The present ha l , which is an open pavilion

of formed by a triple row colonnades , was com menced by Shah Jahan , but, if we may believe

2 tradition , was not completed until the 7th year of

i Auran zl u the re gn of g b. The arcades s rrounding ' A ar the quadrangle are probably of kb s time . The interior dimensions of the hall are 192 feet by 64

of feet. It is constructed red sandstone, plastered over with a ﬁne white polished stucco, which served both as a protection to the stone and as a ground for coloured decoration and gilding. This plaster work was carried to the perfection of a ﬁne art the by the old Mogul builders , but restoration of

‘ 18 6 indiﬁ rentl ou it in 7 was very e y carried t. The throne of the Emperor was in an alcove of of inlaid marble at the back the hall , and connected with the royal apartments behind . Here he sat to daily to give audience his court , to receive

i . ambassadors , and to administer just ce At the foot

of the alcove is a square slab of marble, about 3 h feet in height, on w ich , it is said, his ministers

stood to receive petitions to the Emperor, and to

convey his commands thereon. On the right and left of the throne are chambers with perforated

marble windows, through which the ladies of ’ n the zanana could view the proceedings. Ber ier s 4 8 Handbook to Am and th e Te]

lively description , though it properly belongs to

i - i- am the D wan at Delhi , will enable us to picture the scene in thedays of the Great Mogul “ The monarch every day, about noon , sits upon f his throne, with some o his sons at his right and i left, wh le eunuchs standing about the royal person ’ flap away the ﬂies with peacocks tails, agitate

or the air with large fans, wait with undivided attention and profound humility to perform the different services allotted to each. Immediately under the throne is an enclosure, surrounded by silver rails, in which are assembled the whole body of omm hs (nobles) , the Rajas , and the ambassadors , all standing, their eyes bent downwards and their hands crossed. At a greater distance from the

ma nsebdha rs or omrahs throne are the , inferior , also standing in the s ame posture of profound of the rev erence. The remainder spacious room , fi and, indeed , the whole courtyard, is lled with l w persons of all ranks, high and o , rich and poor ; becau se it is in th is extensive hall that the King gives audience indiscriminately to all his subjects ;

m h s r hence it is called A Ka , o audience chamber of high and low. “ or During the hour and a half, two hours , that this ceremony continues , a certain number of the royal horses pass before the throne, that the King may see whether they are well used and Th e D‘m ‘ ﬁ 'm 4 9

in a proper condition . The elephants come next , their ﬁlthy hides having been well washed and

painted black as ink, with two large red streaks

u from the top of the head down to the tr nk,

where they meet. The elephants are covered

with embroidered cloth ; a couple of silver- white

w- i of co ta ls from Great Tibet, large value, hang

from th eir ears like immense whiskers . Two

small elephants , superbly caparisoned, walk close l to these colossal creatures, ike slaves appointed

to their service. As if proud of his gorgeous

attire and of the magniﬁcence which surrounds him , every elephant moves with a solemn and digniﬁ ed of step, and, when in front the throne, the driver, n l who is seated o his shou der, pricks him with a

n pointed iron , animates and speaks to him , u til

one f on the animal bends knee, li ts his trunk high , e and ro ars aloud, which the p ople consider as the ’ ' of taslt or elephants mode performing the m, usua l

reverence. Other animals are next introduced— tame ante for lopes, kept the purpose of ﬁghting with eac h

l a x to other ; ni g u , or grey oxen , that appear me to be a species of elk ; rhinoceroses ; large Bengale

buffaloes, with prodigious horns which enable them to contend against lions and tigers ; tame

r n leopards, o panthers, employed in hu ting antelopes ; some of the ﬁne sporting dogs from r: so Handbook to Am ond th e Ta]

U s bec of l , every kind , and each dog with a sma l

s of red covering ; lastly, every specie the birds

of prey used in ﬁeld S ports for catching partridges ,

for cranes, hares, and even , it is said, hunting

antelopes, on which they pounce with violence, beating their heads and blinding them with thei r " wings and claws. t of Af er this parade, the more serious business r the day was attended to . The Empero reviewed

hi s for cavalry with peculiar attention , he was

r personally acquainted with every t ooper. Then all the petitions held up in the as sembled crowd were read and disposed of before the audience closed . On festivals or other special occasions the pillars of the hall were hung with gold bro cades, and flowered satin canopies fastened with red silken cords were raised over the whole t apartment. The floor was covered entirely wi h the most magnificent silk carpets . A gorgeous

ll to tent, larger than the ha , which it was fastened , and supported by poles overlaid with silver, was pitched outside. Every compartment of the arcades round the courtyard was decorated by one of own the great nobles, at his expense, with gold

one brocades and costly carpets, each vying with

t of the other to attrac the attention the Em peror,

on o ff i to whom, such ccasions, an o er ng of gold Th e Inn er Mitre Ba zar 5 1 or jewels, more or less valua ble according to the

of pay and rank the giver, must be presented. ’ — JAHANGIR s O sm an Just in front of the Diwan i- am is a great stone cistern , cut out of a single

out block, with steps inside and , known as ’ - Hans . Jahangir s , a bowl or bath tub There is a long Persian inscription round the outer rim ; the only part now decipherable shows that it was

101 a n. made for Jahangir in 9 a n. ( It is nearly 5 feet in height and 8 feet in diameter at the top . Its original place is said to have been o one f the courts of the Jahangiri Mahal . ’ Tar: ma r M m m— ah an iri s To o a. Co Close by J g

H ams is the grave of Mr. John Russell Colvin , the

- - c Lieutenant Governor of the North West Provin es , who died in the Fort during the disturbances

18 of 57 .

The Inner Mina Bazar.

Before entering the private apartments of the

i - i- em palace, which are at the back of the D wan , we may pass through the gateway on the left of one the courtyard, and enter a smaller , which was the private bazar where merchants sold jewellery, of silks, and costly brocades to the ladies the zanana, who were seated in the marble balcony 5 : Hm d book to Am an d th e To]

a c which overlooks it (Pl te IV. ) A narrow stair ase gave access to the balcony from the courtyard. We may well believe that a considerable part ’ of the ladies time was spent in this quarter o f the palace Sometimes the Great Mogul and his court would amuse themselves by holding a mock fair, ' in which the prettiest of the nobles wives and daughters would act as traders , and the Emperors and the Begums would bargain with them in the most approved bazar fashion . The Emperor would haggle for the value of an

w i s anna, and the ladies ould feign ind gnation , cold

his Majesty roundly, and tell him to go where he “ could suit himself better. The Begums betray,

to if possible, a still greater anxiety be served e a ch aply ; high words are he rd on every side, and the loud and scurrilous quarrels of the buye rs

and sellers create a complete farce. But, when

at last the bargains are struck, the Begums, as well

as the Emperor, pay liberally for their purchases,

and often, as if by accident, let slip out of their

i of hands a few gold nstead silver roupies , as a compliment to the fair merchant and her p retty

daughter. Thus the scene ends with merry jests

and good humour. (Bernier.) — THE Ca n ons: Gar za The further corner of on ft Chitore this courtyard, the le , leads to the

gates, the trophies which Akbar placed there as

Th e Mach h i Bho m 5 3 a memorial of his capture of that great Rajput 16 stronghold in 57, after a desperate resistance by l its gal ant defenders. They form the principal

to M ach/ti B ha wa n entrance the , the great court

i - i- am yard behind the D wan , but are generally t kep clo sed . — THE H INDU Tau ru s Beyond the Chitore gates you enter into another quadrangle s ur u ro nded by arcades, which recalls a different r chapte in the chequered history of the palace.

o Here is a Hindu temple, built by one f the

Bharatpur Rajahs, who sacked Agra about the of 18th middle the century, and occupied it for ten years.

The Machhi Bhawan.

i - i- am Returning now to the D wan , we can ascend by one of the small staircases to the

- throne room , and enter the upper arcades which “ surround the Machhi Bhawan , or Fish Square . The courtyard has suffered so much from ruthless vandalism that it is difficu lt to realize its former l out magniﬁcence . It was formerly aid in marble

er- - with ﬂow beds, water channels, fountains, and

- off ﬁsh tanks . These were carried by the Jats to Di the palace of Suraj Mal , at g. A large quantity

of mosaic and exquisite marble fretwork, from 5 4 Handbook to Am and th e Ta]

of a to this and other parts the pal ce , was put up e auction by Lord William Bentinck, when Gov rnor

of General India. The Taj only escaped the same fatebecause the proceeds of this sale were un

satisfactory. On the side opposite to the throne - room is an o open terrace, originally ro fed over and connected

DIwan- i- h with the khas. T is also was dismantled

by the Jats. — Tm: NAJ INA Mash a On the left of the throne f room , at the end o the corridor, is a door leading into a small mosque of white marble, built by i A u rangz b for the ladies of the zenana. It is some i thing l ke the M uti Masjid, but far inferior in

design. The further corner of it Opens into a small i chamber, overlooking the courtyard of the D wan

- out i am , which is pointed by the guides as the

pri son where Shah Jahan was conﬁned . This may

or be accept ed not, according to the choice of the visitor. When distinct historical authority is f wanting, it is very di ﬁcult to distinguish real tradition and pure fable in the tales of these garrulous folk. The historical evidence seems to show that Shah Jahan was not kept a clos e prisoner, but simply conﬁned to certain apart ments in the palace. We will now pass over to the river side of the The Di m - I- Khu 5 5

Machhi Bhawan , and approach that part of the

c i - i- palace which ontains the D wan khas , or Hall

of - i - Private Audience, the Zanana and Mahal khas , all built by Shah J ahan an d occupied by him in the of days his royal state and sovereignty . They

rank with the Diwan - i- khas at Delhi as the most

’ exquisite of Shah Jaban s buildings. From this

classiﬁcation I purposely omit the Taj , gleaming on f the banks o the river lower down . The Taj

stands by itself.

- - The Diwan i Khas .

- - 16 The t an i khas was built in 37 . Though

i - i- much smaller than the D wan khas at Delhi , it is certainly not inferior in the beauty of its

proportions and decoration. M ost of the decorative work of these marble pavilions is directly derived

from Persian art, and inspired by the Persian love of ﬂowers which almost amounted to ﬂower

a m worship. All the det ils are char ing, but the

o dad s, especially, edged with inlaid work and

d fl l a carve with oral types in the most de ic te relief, show to perfect ion that wonderful decorative instinct which seems to be born in the Orien tal i handicraftsman . The designer has na vely trans lated into marble the conventional Indian ﬂower ds , just as they were in every palace garden , t there is perfect art in the seeming absence of

artiﬁce. The dados outside the Taj are similar in t sign o these, though larger and correspondingly

of i - i- lder in style. The roof the D wan khas , th its ﬁne coved ceiling, is interesting for its

nstruction. ' — Ju umcm s Ti mon On the terrace in front of

i - i- n D wan khas are placed two thrones , o e of l on - ite marble the side facing the Machhi Bhawan , d the other of black slate on the river side. om the Persian inscription which runs ro und four sides of the black throne we learn that it

1 1 5 made in 603 for Jahangir. This was two ars before the death of his father, Akbar, and he

LS i . then only Prince Sal m The throne was ,

refor a e, probably made to commemorate the ’ :ognition by Akbar of his son s title to the

ccess ion. O n this terrace Jahangir sat to enjoy the sight

on or to his brigantines the river, watch the aph ant ﬁghts on the‘ lev el place beneath the

11 15 . From side to side of hi s throne there is long ﬁssure, which Opened, so says tradition , men n of the Jat Rajah , Jawahar Si gh Bharatpur,

1 6 7 5 , set his usurping feet on the throne of the r eat Mogul. The tradition holds that blood urted out of the throne in two places, and red

5 8 Han dbook to An n and th e Ta]

f Nur Mahal . It was a terwards occupied by Mumtaz

Mahal, the lady Of the Taj . Here , also , in full view Of the famous monument he had raised to her memory, died her husband, Shah Jahan s i hi s u ensual st, perhaps, but true to last ho rs to one - ah anara great master passion . The faithful J , t who shared his captivity for seven years , a tended

on - Of him his death bed , and, as the shades night closed in and hid the Taj from view— praying

Divine forgiveness for his sins , and with a few — consoling words to his da ughter hewent to join his beloved ! Aft er the rites prescribed by the Muhammadan law fﬁ , the body was placed in a co n Of sandal wood and conveyed by the passage which leads from the Samman Burj to the low gate beneath it, which was specially Opened for the occasion .

Thence, followed by a procession of mourners, it was carried out of the Fort through the Sher Haji gate, nearly opposite (now closed) , and conveyed across the arm of the river to its last resting- place in the Taj . The death of Shah Jahan and his funeral are minutely described by Mulla Muhammad Kazim “ ” i e in his Alamgir Nama. The gu d s wrongly point out a pavilion in the Jahangiri Mahal as the place where he died. In front of the Samman Burj is a beautiful Th e Kh as Mah a l so little fountain hollowed in the floor ; on one side of the courtyard is a raised platform laid out in

Of a for chisi squares bl ck marble the game of pa , ‘ an Eastern backgammon .

The Khas M ahal . From the Samman Burj we step into the next f set of apartments O the zanana, connecting with h the Khas Ma al and a similar set on theother side . Of This part the zanana forms the east, or river side , of the Anguri Bagh, or Grape Garden . There is an indescribable grace and charm about all this

Of to quarter the palace , which the beauty of the material , the perfect taste Of the ornament of and elegance the proportions, the delightful

a of b ckground the landscape, and the historical associations all contribute . It should be seen

of towards evening, not in the full glare the morning sun . ﬁ When the afterglow lls the sky, burnishes i t the g lded roofs, and turns the marble o rose

t e- colour, imagination may people these lovely pavilions with fair Indian women— revel in the

1 l erail i i w a An ug y modern marbl , in m tation of ood, prob bly a reminiscenceOf thetimewhen th e palace was occupied by the son ti di ﬁ ures and stun the ro ortions of the Briti sh garri , s ll s g ts p p upper storey of theSamm an Burj . 6o Hm dhook to Am an d th e m

sa r is feast of colour in , brocades , and carpets ; in the gold, azure, and crimson of the painted ceilings ; and listen to the water splashing in the fountains and gurgling over the carved water — shoots a scene of voluptuous beauty such as the world has rarely known since the wealth and elegance of Rome ﬁlled the palaces and villas of

Pompei . In the walls of the Khas Mahal are a number of niches which formerly contained portraits Of

the Mogul Emperors, beginning with Timur, which ,

like so many other things, were looted by the of of Rajah Bharatpur. A number similar portraits and other ﬁne paintings of the Mogul period are r p eserved in the Government Art Gallery, Calcutta. A Persian poem inscribed on the walls of the

Khas Mahal gives the date of its construction ,

1 636. — Tm: U NDERGROUND Can t eens A staircase to the south of the Khas Mahal leads to a labyrinth

of underground chambers , in which the Emperor and his zanana found refuge from the ﬁerce

- summer heat of Agra. In the south east corner

' - bd oh i there is a well house, called a ; th s is a set — of chambers surrounding a well a favourite retreat

in the hot weather. There were formerly many f o the kind round about Agra, constructed by the

Mogul Emperors or their nobles . Besides these Th e Aat a rl B l f h 61

resorts of ease and pleasure , there are gloomy dungeons which tell of misbehaving slaves and w indiscreet sultanas, who were hurried do n to of meet their fate at the hands the executioner,

the silent Jumna receiving their lifeless bodies .

TheAnguri Bagh . The great quadrangle in front Of the Khas Mahal

on h is the Anguri Bagh , surrounded t ree sides by

arcades, probably built by Akbar and intended for c his zenana. They were o cupied in the Mutiny days by the British Ofﬁcers and their families who

were shut up in the Fort. The Anguri Bagh is a very typical specimen of l the O d Mogul gardens , laid out in geometrical

- f c flower beds , with our terra ed walks radiating from

the central platform and fountain . A stone trellis

fl - formerly enclosed the ower beds, and probably supported the vines which gave the garden its

name . Among the many improvements lately made by Lord Curzon in the Fort is the clearance of the wire- netting fernhouses and bedraggled shrubs

which formerly disﬁgured the quadrangle . If it old cannot be kept up in the Mogul style, it is t to certainly bet er leave the garden uncultivated. — Sm su M AHAL Ou the north side of the Anguri 6a Handbook to Am and th e Ta]

Bagh , close to the zanana, a passage leads to the “ " S hish M aha l or i , palace of glass. Th s was the f bath Of the zanana. The marble slabs O the ﬂoor have been torn up, and the decoration with a kind Of glass mosaic seems to have suffered from clumsy attempts at renovation . A passage from the Shish l Mahal leads to the O d water gate. THE Gu ns — Before entering the

al f Jahangiri Mah , On the Opposite side o the

of Anguri Bagh , we will pause at a corner the zanana courtyard, where a small apartment contains an interesting relic Of the Afghan expo “ " of 18 z— so— dition 4 the called Somnath gates , taken from the tomb of Mahmud of Ghazni in the of capture that city by the British . They were the subject of a most extraordinary archmological

- n blunder by the Governor Ge eral , Lord Ellen

o bor ugh , who, in a grandiloquent proclamation, identifying them with the gates of carved sandal

to wood which Mahmud , according tradition , had taken from the celebrated Hindu temple of Som

102 o Of nath in 5 , announced to the pe ple India that “ the insult of eight hundred years had been " avenged. The gates were conveyed On a triumphal car through the towns Of northern India to the e Agra Fort, and deposited there with great cer mony.

of As a matter fact, the wood is deodar, and not f sandalwood, and from the style o the ornament Th e J ah angiri Mah al 63 there can be hardly a doubt that the gates were made at or near Ghazni. One glance would convince any expert in Oriental archeology that they could not by any possibility have been the

of gates a Hindu temple. It has been supposed that the original gates e were d stroyed by ﬁre, and that these were made er to replace them , but there seems to be consid able doubt whether Mahmud really took away any gates from the Somnath temple . It certainly would have been unusual for the great Muh am madan plunderer to have burdened himself with an archaeological relic which , in those days , was not easily convertible into cas h. A horse- shoe which is nailed to the gate is of not, as is generally supposed, a propitiation of the Goddess Fortune, but a token from the owner Of some sick animal that he would bring an Offering to the shrine in the event Of a cure n old resulti g from his visit. This was an custom

d who among the Tartars and other noma tribes, valued horses and cattle as their most precious possess ions .

TheJahangiri M ahal.

The palace called after Jahangir, the Jahangiri

Mahal , is in many respects the most remarkable 64 11.11d to Am and th e Taj

of building its class in India. Nothing could be more striking than the contrast between the

' on eﬁeminac extreme elegance, bordering y, Of ' of l the marble pavilions Shah Jaban s pa aces ,

i a and the robust, v rile, yet highly imagin tive architecture of this palace of Akbar ; for though it bears Jahangir’s name there cannot be much

doubt that it was planned, and partially, if not

out completely, carried by Akbar with the same

architects who built Fatehpur Sikri . It is the perfected type of the style which we see in

Of ateh ur not process evolution at F p , and were it

or f the Taj , we might regret the new element which came into Mogul architecture with Itm ad ' - lah s . o of ud dau tomb B th these styles, which the appear side by side in Agra Fort , are intensely typical Of the men and the times which produced one them. The is stamped throughout with the

f - personality o Akbar, the empire builder, and distinguished by the stately solidity of Jain and

Hindu architecture. I n the other the native vigour Of the earlier Indian styles has been softened by the cultured eclecticism Of Persia ’ of Akbar s and Arabia, for the manly dignity court had given place to the sensual luxury of ’ ah an s Shah J . On the river side Of the palace there is an octagonal pavilion placed similarly to the Samman

66 Hm dbook to Am and th e Tu]

Passing through these, we enter a long room n k own as the library , in which a not very suc cessfu l attempt was made some years ago to

restore the painted decoration . It is to be devoutly hoped that this and other dangerous i f i d exper ments o the kind will not be cont nue ,

except under skilled artistic supervision . The restoration of the structural parts Of the palace i and Of the stone carv ng is a more easy matter, for th e descendants Of the very men who built and carved the palace still practise their art in

Agra and round about. This has been admirably carried out by the Pu blic Works Department ' urzo under Lord C n s orders .

on The outer courtyard , the riverside, is very interesting, especially for a very elegant and original porch , in which Saracenic feeling pre dominates ; but on entering the inner courtyard i (Plate VI . ) it is more easy to real ze that this Palace is one of the great masterpieces of Mogul archi

of tecture . The beauty this inn er quadrangle is derived not so much from its ﬁne proportions and rich ornamentation as from the wonderful rhythmic play Of light and shadow, produced by the bracket form Of construction and the admirable disposition f n O the Openi gs for doors , windows, and colon nades. The north side Of the quadrangle is

Of formed by a pillared hall, distinctly Hindu

Th e S a mara -h 67

u of o f design , f ll the feeling mystery characteristic of indigenous Indian styles . The subdued light Of the interior adds to the impress iveness of its great piers stretching their giant brackets up to the roof like the gnarled and twisted branches Of primeval forest trees. A very interesting point of view can be obtained from the gallery which runs of round the upper part the hall . ' One of Jahangir s wives, a Hindu princess o f

J odhpur, hence known as Jodh Bai , lived in this f on part o the palace, and the room the west side of u u e the q adrangle, surro nded by a numb r of

c s h Oblong ni he , is said to ave been her temple, in which the images Of Han uman and other H indu deities were kept. On the roof of the Jahangiri Mahal there are two ﬁne pavilions ; also a number of cisterns, which supplied the palace with water. In the side of on - e Of them there are a number Of pipe holes, of lined with copper, over each which is a ci rcular stone label inscribed with the part of the palace to which it gave a supply.

On the rising ground behind the courtyard of the Diwan- i- am there formerly existed a palac e ' called the Sali mgarh. Before Jahangir s accession 68 ”41:1d to Am and th e Ta]

‘ k Pri nc im he was nown as e S al , and tradition h ow associates this palace with him . Fergusson , ever, states that in his time an exquisite fragment

or i Of a palace built by Shere Shah, his son Sal m , i existed here. The Sal mgarh at Delhi is named

son of i who after the Shere Shah , Sal m Shah Sur, built it, and there is some doubt as to which Of the two Salims gave his name to the Salimgarh ’ r at Agra. Akba s Fort is known to have been built to replace an older one (known as the

Bad al arh i i g ) by Sal m Shah Sur, but it is qu te possible that a part Of the palace may have been f le t, and retained the name Of its founder. The only part of th e Salimgarh which now remains is a large two- storied pavilion in front Of u h the barracks . The pper alf Of the exterior is carved with extraordinary richness. The style Of design certainly indicates the period of the ’ Jahangiri Mahal and Akbar s buildings at Fateh ' k pur Sikri , rather than Shere Shah s wor

The Jami M asjid.

Nearly Opposite to the Delhi Gate of the Fort

a or is the J mi Masjid, Cathedral Mosque, built by ' h s an ra a an . J ah a , Shah J eldest daughter It is in the same style as the splendid mosque built by

Shah Jahan at Delhi, but far inferior in merit. Th e J hm l Masjid 69 There is a tameness about the whole design very

unusual in the buildings of this epoch . The zig

zag striping of the domes is decidedly unpleasant . An inscription over the main archway states

16 A. O. that it was completed in the year 4 4 , at

a cost of ﬁve lakhs of rupees.

7 : Hand book to Am an d th e Ta]

in bore him fourteen children , and died childbed ’ 16 0 r in 3 , o the second year after Shah Jaban s

to accession the throne , at Burhanpur, whither she had accompanied her husband on a campaign

against Khan Jahan Lodi. The Em peror was

For overpowered with grief. a week he refused

hi or to see any of s ministers , to transact any

business Of state. He even contemplated resign ing the throne and dividing the empire among his

For sons . two years the court observed strict

N u r mourning. O m sic o festivities were allowed ;

of of s the wearing jewels, the use perfume and luxuries of all kinds were forbidden . The month of Zikad , in which she died, was Observed as a

' month of mourning for many years afterwards.

The body of Mumtaz was removed to Agra, and remained temporarily in the garden Of the Taj while the foundations Of the building were being laid. It was then placed in the vault where it now lies. A temporary dome covered the tomb while the great monument grew up over it.

f T The building o the aj .

I t was one of those intervals in history when the whole genius of a people is concentrated n o great architectural works, and art becomes

For epitome of the age . the Taj was not

i - a creation of a s ngle master mind , but the Th e Ta] 7 3

consummation of a great art epoch . Since the

time Of Akbar the best architects, artists, and art f workmen O India, Persia, Arabia, and Central

Asia had been attracted to the Mogul court. All the resources of a great empire were at

their disposal , for Shah Jahan desired that this monument of his grief should be one of the f wonders o the world. The sad circumstances which attended the early death of the devoted wife who ha d endeared herself to the people might well inspire all his subjects to join in the

’ Emperor s pious intentions.

According to the old Tartar custom , a garden — was chosen as a site for the tomb a garden

planted with flowers and ﬂowering shrubs, the

emblems of life, and solemn cypress , the emblem

of death and eternity. Such a garden , in the

- Mogul days, was kept up as a pleasure ground ’ his during the owner s lifetime , and used as last

- resting place after his death. The Old tradition

laid down that it must be acquired by fair means,

or . SO and not by force fraud Rajah Jey Singh , to whom the garden belonged, was compensated ' by the gift Of another property from the Emperor s private estate. Shah Jahan nex t appo inted a council of the best architects of his empire for i preparing the design for the bu lding. Drawings of many of the most celebrated buildings of the 74 Hand book to An n an d th e Ta]

be world were shown and discussed. It is even

i v Ver roneo l e ed that one Geronimo , an Italian who was then in the Mogul service , submitted designs for ' Shah Jaban s inspection , a fact which has led many f writers into the error o supposing that the Taj , as 1 completed, was actually designed by him. The design eventually accepted was by Ustad Isa, who is stated in one account to have been a Byzantine

t i . Turk, and in another a na ive of Sh raz , in Persia The master- builders came from many different parts ; the chief masons from Baghdad , Delhi, and Multan ; the dome builders from Asiatic Turkey and from Samarkand ; the mosaic workers from Kanauj and from Baghdad ; the principal calli

ra his t g p for the inscriptions from Shiraz. Every part of India and Central Asia contributed the materials ; Jaipur, the marble ; Fatehpur Sikri , th e the red sandstone ; Panjab , jasper ; China, the jade and crystal ; Tibet, turquoises ; Ceylon , lapis lazuli and sapphires ; Arabia, coral and cornelian ;

Bundelkund Panna in , diamonds ; Persia, onyx and amethyst. Twenty thousand men wer e employed h in the construction , w ich took seventeen years ’ to complete . The sarcophagus was originally

1 This question is discussed at length in an articleby the ” uthor entit ed TheTa and its es i n rs a , l j D g e , published in theJune number of theN ineteenth Centur and A ter 1 0 . y f , 9 3 Tavernier says twenty- two years probably including all the bui n accessory ldi gs .

Th e Ta] 75 enclosed by a fence or screen of gold studded with

16 2 gems. This was removed in 4 , and replaced by the present exquisite screen of pierced m arble (Plate The Taj also possessed formerly two wonderful silver doors. Austin de Bordeaux, a

French goldsmith , who was employed by Shah

Jahan in making the celebrated Peacock throne , may possibly have executed some Of this met al work in the Taj ; but there is no evidence worthy of consideration to support the common Anglo Indian belief that he designed or superintended

re: da m or the ﬂ a , inlaid marble decoration of the building, which is entirely of the Persian school. These silver doors were looted and melted down

in 1 6 by the Jats 7 4.

n Besides the lavish expenditure on the buildi g, lakhs of rupees were spent in providing the richest of Persian silk carpets , golden lamps, and magni

ﬁc f ent . O candlesticks A sheet pearls , valued at

v c se eral lakhs , was made to over the sarcophagus .

off This was carried by the Amir Husein Ali Khan ,

1 20 of in 7 , as part of his share the spoil of Agra a The total expenditure, ccording to native accounts ,

18 amounted to nearly 5 lakhs Of rupees. It is said that Shah Jahan had intended to construct a mausoleum for himself Opposite to Of the Taj , on the other side the Jumna, and to connect the two by a great bridge. The 76 Han dbook to Agra and the Ta]

project was interrupted and never completed ,

r n zi owing to the usurpation of A u a g b, shortly after the foundations were laid

T The Intention of the aj. The Taj has been the subject of numberless s critical essays, but many of them have mis ed the

mark entirely, because the writers have not been sufﬁ ciently conversant with the spirit of Eastern

artistic thought. All comparisons with the Par

thenon or o ther classic buildings are useless . One

a or cannot compare Homer with the Mahabharat , a Kalid s with Euripides. The Parthenon was a temple for Pallas Athene, an exquisite casket to — contain the jewel . The Taj is the jewel the ideal itself. Indian architecture is in much closer afﬁnity to the great conceptions of the Gothic builders than it is to anything of classic or Renais

. o sance construction The G thic cathedral, with its sculptured arches and its spires pointing heaven

s i wards, is a symbol, as most Ea tern bu ldings are

. i symbols The Mogul art sts, being prevented by the precepts of the Muhammadan religion from attempting sculpture, as understood in Europe , succeeded in investing their great architectural monuments with an extraordinary personal cha r r u acte . There is a wonderf l personality in the ’ dignity and greatness of Akbar s tomb ; we see

78 Han dbook to Am and th e Taj

architectural canons, but of an architectonic ideal , symbolical of her womanly grace and beauty. Those critics who have objected to the effeminacy of the architecture uncon sciously pay the highest tribute to the genius of the builders. The Taj was meant to be feminine. The whole conception,

and inten and every line detail of it, express the

of tion the designers. I t is Mumtaz Mahal herself, radiant in her youthful beauty, who still lingers

sh on the banks of the ining Jumna, at early morn , s in the glowing midday sun, or in the ilver moon light. Or rather, we should say, it conveys a ' more abstract thought ; it is India s noble tribute — to the grace of Indian womanhood the Venus de

Milo Of the East. B earing this in mind, we can understand how foolish it is to formulate criticisms of the Taj based on ordinary architectural principles as

. of e practised in Europe Many th se criticisms, which might be appropriate enough if applied to a modern provincial town hall, are only silly and impertinent in reference to the Taj . Some

- - are born tone deaf, others colour blind, and there are many who can ﬁnd beauty in one particular O form or expression of art and in no others . S the Taj will always ﬁnd detractors. But whoever tries to understand the imaginative side of Eastern

i to thought w ll leave the critics themselves, and The Ta! 7 9

take unrestrai ned delight in the exquis itely subtle

Of of rhythm this marvellous creation Mogul art.

The gateway of the Taj faces a spacious quad

rangle surrounded by arcades. This is a ca ra v a n

sem i or , place where travellers halted . Here, also ,

the poor were provided with food and shelter, and on the anniversary day vast sums were distributed in charity from the funds with which the Taj was

endowed. It is well to pause before entering, and admire the proportions and perfect taste of the decoration of this gateway ; for afterwards one has

no eyes for anything but the Taj itself. It is much ’ ﬁner in design than the similar gateway of Akbar s i tomb at Sikandra. An Arabic inscript on in black marble, Of passages taken from the Koran , frames i i of the pr ncipal arch, and nvites the pure heart to enter the Gardens of Paradise . The ﬁr st view of the Taj is from within this

s of noble portal, framed by the ombre shadow the great arch which opens on to the garden . At the end of a long terrace , its gracious outline partly of mirrored in the still water a wide canal , a — fairy vision Of silver- white like the spirit of — i purity seems to rest so l ghtly, so tenderly, on the earth , as if in a moment it would soar into

of the sky. The beauty the Taj , as in all great 80 Handbook to Agra and th e Ta]

art , lies in its simplicity. One wonders that so

s much beauty can come from o little effort . Yet

nothing is wanting, nothing in excess ; onecannot

alter this and that and say that it is better.

The garden , as originally planned , was an

of one integral part great design. The solemn rows of cypresses were planted so as to help out the lines Of the architecture ; the flowering trees and flower- beds completed the harmony with a splendid

of ‘ glow colour. Beautiful as the ﬁrst view of the o e i Taj is even now, n can hardly real ze how glorious it must have been when the whole

of intention the design was fulﬁlled. At present there is not a single spot in the garden itself e of s which giv s a view the compo ition as a whole .

a Advancing down the main terrace, p ved with

- stone and laid out with geo metric flower beds, we reach a marble platform with its fountain (see where a nearer view of the Taj

1 r en is un le lanted b a Euro ean The p esent gard a j g , p y p ov erseer without any understanding or feeling for theideas of the o n trees en irel block out thev iew of Mogul artists. Theovergr w t y s hich are an essentia art of the the mosques on either ide, w l p i n as su orters to thes ender detached wholecommsit o , serving pp l , n r n ho that it is intended to remo e mina rets. I u desta d , wem , v someof themoreobstructiv e of thelarger trees ; but the avenue hi h r sh ed frorn drou ht some ears a o of cypress trees, w c pei g y g , has been replanted on lines which eventually will clash seriously

with thearchitectural composition. 3 This represents the condition of the garden twenty or th irty rs a o yea g .

At the head of the tomb is the line : He is the " everlasting : He is sufficient ; and the followin g “ passage from the Koran : God is He, besides whom there is no God. He knoweth what is concealed and what is manifest. He is merciful " and compassionate. “ On one side of it : Nearer unto God are those who say Our Lord is The inscription in the tomb of Shah Jahan is as “ follows : The illustrious sepulchre and sacred resting- place of His Most Exalted Majesty digniﬁed as Razwan (the guardian of Paradise) , having his abode in Paradise, and his dwelling in the starry

e of f h aven , inhabitant the regions o bliss, the l of iran i second lord the Q , Shah Jahan , the k ng

. fl valiant May his tomb ever ourish , and may

his abode be in the heavens . He travelled from this transitory world to the world of eternity o n

2 the night of the 8th of the month of Rajab , 1076 ( 1666 The real cenotaphs containing the remains Of Shah Jahan and his wife are immediately under

these tombs, in the vault below . Not the least of the wonders of this wonderful building is in its

acoustic qualities . It does not respond to vulgar

Theconjunction of Jupiter and Venus ; referring to the cir cum stance tha t Tim ur and himself were born at the conjunction of am theseplanets . (K a ) Th e Ta] 83

noises , but if a few notes be slowly and softly sung in this vault, and especially if the chord of the seventh be sounded, they are caught up by th e echoes of the roof and repeated in endless harmonies , which seem to those listening above as if a celestial choir were chanting angelic hymns . “ It haunts the air above and around ; it distils in showers upon the polished marble ; it rises , it falls. It is the very element with which sweet s dream are builded. I t is the spirit of the Taj , the voice of inspired love l Surrounding the central chamber are eight smaller ones for the mullahs who chanted the Koran and for musicians who played soft Indian and Persian melodies . The vault below was only n opened once a year, o the anniversary day, when the Emperor and all his court attended a solemn festival. Even on ordinary occasions none but

Muhammadans were admitted into the interior.

Bernier tells us that he had not seen it, on that account , but he understood that nothing could be conceived more rich and magniﬁcent . The two mosques of red sandstone on either side of the Taj are in the same style as the entrance gateway, the interiors being decorated

- with fresco and ﬁne cut plaster work. The one towards the west was intended for prayers only ; the floor is panelled into separate spaces for each 84 Han dbook to Am an d th e Ta]

was k worshipper. The opposi te mosque nown

amaat Kha na - for as the j , or meeting place the

on o congregation before prayers , and the occasi n f o the grea t anniversary service. Standing on the

of t platform in front his mosque, one has a splendid

th e . view of Taj , the river, and the distant Fort

As the garden is now arranged, a full view of the magniﬁcent platform , with its two mosques , the and the Taj itself, can only be obtained from

of e opposite side the river, which is not v ry l accessible except by boat. When the trave ler

all leaves Agra by rail , going east, the Taj in its fl i glory can be seen in the distance, oating l ke the mirage of some wondrou s fairy palace over the waving tufts of th e p ampas grass , until at last it sinks into the pale horizon.

— N OTE A small museum has been established lately by the heolo i c ha of Arc g al Department, in the western lf the Taj main

‘ dm wings of the Taj at diﬁerent periods and specimens of the stones used in the id ra dem ot in a work of the p n l y building. ere are a so sam es i ustra tin the t chni ueof a dam Th l pl ll g e q M , an d thetools used by nativeworkmen .

’ ITMAD—U D- DA U LAH S TOM B

“ THE It ad- ud- da lah tomb of m u , the Lord High

on or f Treasurer, is the east le t bank of the the river, and is reached by crossing pontoon bridge. It was built by Nur Mahal , the favourite

u wife of Jahangir, as a mausole m for her father, ' cc one u Mirza Ghias Beg, who, a ording to acco nt , was a Persian from Teheran , and by another a e native of W stern Tartary. ' of A story is told Of the Mirza s early life,

’ ' S e o v ero eb trov which it can only be said, n n e en ala

He left his home, accompanied by his wife and to children , seek his fortune in I ndia, where he ’ had some relatives at Akbar s court. His slender

' provis ion for the journey was exhausted in cross ing the Great Desert , and they were all in danger em of perishing from hunger. I n this extr ity his n wife gave birth to a daughter. The u happy t parents, distracted by hunger and fa igue, left f the infant under a solitary shrub. With the ather supporting his wife and children on the one bullock which remained to them , they pushed on

on The pavilion the roof, enclosed by beautiful IX i n a marble tracery (Plate ) , conta ns o ly replic s of the real tombs beneath . The mausoleum was commenced in 1622 and completed in 1628. As a composition it may lack inspiration, but it is

c a ex eedingly eleg nt, and s cholarly like the Lord

r High Treasure himself. In construction it marks the transition from the style of Akbar to that of Shah Jahan ; from the Jahangiri Mahal to the

- - i i . D wan khas, the Muti Masjid, and the Taj The towers at the four corners might be the ﬁrst suggestion Of the detached minarets of the Taj . The Hindu feeling which is so characteristic of ' most of Akbar s buildings is here only shown in the roof of the central chamber over the tomb ; in pure Saracenic architecture a tomb is always covered by a dome. This change in style greatly influenced the

of of architecture the whole of the north I ndia, l Hindu and Jain as wel as Muhammadan. It must be remembered that comparatively few of the master- builders who actually constructed the most famous examples of Mogul architecture were

Muhammadans . The remarkable decline of the Mogul style which set in under A urangzi b was largely due to his bigotry in refusing to employ any but true believers.

The family ties of Itm ad - ud- dauleh and his

and ro se- water vessels are here reproduced exactly

as they are found in Persian mosaic tiles. In Shah ' Jaban s p alace and in the Taj they went a step e further, and imitat d the more naturalistic treatment of Persian fresco painting and other pictorial art ; but there is never the slightest su ggestion of Euro

d of pean esign in the decoration these buildings. It is quite possible that some I talians may have shown the native inlayers specimens of Florentine

ietra da m n p , and suggested to them this aturalistic

r treatment, but if Italians o other Europeans had been engaged to instruct or supervise in the decoration of these buildings they would certainly of have left some traces their handiwork. In the technical part of the process the Indian workmen

had nothing to learn , and in the design they made

o no attempt to follow Eur pean forms, except in the one solitary instance of the decoration of the

- of l throne chamber the De hi Palace, which is much ’ 1 I a - d - d aulah s later in date than tm d u tomb . The whole scheme of the exterior decoration

is so ﬁnely carried out, both in arrangement and

colour, that its extreme elaboration produces no

effect of unquietness . At a distance it only gives

It is very probable that the black slate or marble panels in h are re ne n d i n the Delhi Palace, whic pu ly Florenti i es g , were t rom I in he Indi n im ported complee f taly, and ﬁx ed t wall by a en wh o on desi ned the ornamen a scro s surroundin workm , ly g t l ll g e nes th pa l . Handbook to Agra and th e Ta] a suggestion of a soft bloom or iridescence on

f f sofﬁ ts f the sur ace o the marble. The o the doorways are carved with extraordinary delicacy . Inside the building there are remains of fresco and other painted decoration . on Beautifully placed the river bank, there is a ﬁne little mosque , which at sunset makes a charming picture. The boldness and greater sim plicity of the decoration contrast well with the of richness that of the mausoleum . T HE C HfNI- KA - RAUZA

’ EY N D Itmad - ud- d aulah s on B O tomb, the same side of the river, is a beautiful ruin, once entirely

- covered with the same Persian mosaic tile work, which suggested the more costly style of decora

i i - ka- u tion in inlaid marble. It is called Ch n Ra za, or the China Tomb , and is supposed to be the mausoleum Of Afzal Khan , a Persian poet, who

i of entered the serv ce Jahangir, and afterwards

c be ame Prime Minister to Shah Jahan. He died

16 a - in Lahore in 39. The we ther and ill treatment of various kinds have removed a great deal of the exquisite enamel colours from the tiles, but enough remains to indicate how rich and m agniﬁ ff i cent the e ect must have been orig nally. A part of the south facade which has fallen in shows how the builders employed earthen pots to lessen f the weight o the concrete ﬁlling, a practice followed in the ancient dome construction of Egypt and Rome .

- e beautifu l spreading plane trees , und r the shade of which there are agreeable spots , ﬁnely sheltered.

A perennial stream , large enough to turn a mill ,

on it s runs through the garden , and banks are l planted p ane and other trees . Formerly this stream

i i c u ﬂowed in a w nd ng and crooked o rse , but I ordered its course to be altered according to a plan which added greatly to the bea uty of the place . Lower down on the lower skirts of the hills is

K a eh - - K a eh a fountain , named w j seh yaran ( w j three friends), around which are three species of trees ; n abov e the fountain are many beautiful pla e trees , i which y eld a pleasant shade. On the two sides of f the fountain , on small eminences at the bottom o

h of oak . the ills , there are a number trees Except

e of on thes two spots , where there are groves oak, there is not an oak to be met with on the hills of

s the we t of Kabul . In front of this fountain , towards

r the plain , there are many spots cove ed with the

e ar hwan r ar h ﬂow ring g t ee, and, besides these g wan in plots, there are none else the whole country. It is said that these three kinds of trees were bestowed on it by the power Of these three holy men , beloved of God ; and that is the origin of the

e- name S j Yaran . I directed this fountain to be u i built ro nd with stone, and formed a c stern of lime and mortar ten yez by ten . On the four sides of the foun tain a ﬁne level platform for resting was constructed on a very neat plan . At the time

ar an d o when the ghw ﬂowers begin to blow, I not know of any place in the world to be compared

ar hwan n with it. The yellow g is here very abu

ar hwan dant, and the yellow g blossom mingles ” with the red. The Ram Bagh was the temporary resting- place of the body of Babar before it was taken to Kabul for interment in another of the gardens he loved

old of so much. The Mogul style gardening is a l st ne o art, and o misses in the Ram Bagh the

i ﬂower stately rows of cypres s , nterspersed with

ering trees , the formal ﬂow beds glowing with colour like a living carpet, which were planted by

Babar ; but the terraces , the fountain , the water

- — channels, and the little stone water shoots cun ningly carved so that the water breaks over them with a pleasant gurgling sound— which may have recalled to him the murmurings of his native — mountain - streams the old well from which the

of water the Jumna is lifted into the channels ,

the n can still be seen, as well as pavilions o the

- e river bank, now moderniz d with modern bad taste. In later times the Ram Bagh was the garden

of house the Empress Nur Mahal. It was kept up by all succeeding Governments, and it is said to have Obtained its name of Ram Bagh from the

Mahrattas in the eighteenth century. Th e Ram Bagh 95

— - THE Z U HARA Bas ra Between the Chini ka Rauza and the Ram Bagh there is another great

- walled enclosure, which contained the garden house ' of b on is Zu ara, eof Babar s daughters, and named

b . after her the Zu ara, or Zohra Bagh This formerly

- contained the largest garden palace at Agra, and is said to have possessed no less than sixty wells . 2 20 A great well , just outside the enclosure, feet f in circum erence, and of enormous depth , was ﬁlled

a up some years go.

S ikandra 97

realized the materials , and built a pavilion on the site. In front of the great gateway was a splendid baoli - , or well house, the largest in the neighbourhood of Agra. This was filled up about five years ago. ’ N ot far from Ladli Begam s garden is the of Kandahari Bagh, where the first wife Shah

o ff in Jahan, a daughter f Moza ar Huse , who was

- i the great grandson of Shah Ismail S afv , King of

u Persia, is b ried.

About a mile further along the road, on the

- of left hand side, is a curious statue a horse in red sandstone, which, tradition says, was put up by a nobleman whose favourite horse was killed at this spot ; the syce who was killed at the same time has his tomb close by.

- u Nearly opposite to this is a large dried p tank ,

a - ka- Tal c lled the Guru , which, with the adjacent

n to a ruined buildi gs, are attributed Sik ndar Lodi , one of the Afghan predecessors of the Mogul to a Emperors, who has given his name Sikandr

' Akbar s Tomb .

’ Akbar s tomb stands in the midst of a vast

garden, enclosed by four high battlemented walls. In the centre Of each wall is an imposing gateway one on seventy feet high. The principal , the west

in side, has an inscription Persian, which states that the mausoleum was completed by the Emperor H 98 Handbook to Agra and th e Taj

t of is or 161 Jahangir, in the seven h year h reign , 3 a n . It is elaborately ornamented with bold but

rather disjointed inlaid patt erns, which seem to show that “ the designers were u naccustomed to

are this method of decoration. Neither the four

minarets at the corners of the roof, which are said a t e to have been broken by the J ts, con riv d with the

usual skill Of theMogul architects . Above the gate a way is the Nakk r Khana, an arcaded chamber with a n balcony, where at dawn and one watch after su rise

the drums and pipes sounded in honour of the dead . The mausoleum was commenced by Akbar ff himself. It is di erent in plan from any other

Mogul monument, and, contrary to the usual

of of Muhammadan custom, the head the tomb not Akbar is turned towards the rising sun , and

towards Mecca. The whole structure gives the impression Of a noble but incompleted idea ; both is in its greatness and in its incompleteness, it

typical of Akbar and his work . The original design was somewha t modiﬁed by

Jahangir. He has stated in his memoirs that on his ﬁrst visit to the tomb after his accession he was dissatisﬁed with the work which had been l done, and ordered certain parts of it to be rebui t . Fergusson supp oses that the original intention was to cover the tombstone and raised platform

of the uppermost story with a domed canopy, S ikand ra 99 and in this he is supported by a statement of i Will am Finch , who visited the mausoleum when it was being built, that it was to be inarched over with the most curious white and speckled marble, to be ceiled all within with pure sheet gold richly ” inwrought. Such a canopy is just what is required by msthetic considerations to complete the curiously truncated appearance of the top

story, and there is nothing in the structural i or design to make it mpossible improbable. The approach to the interior of the mausoleum of is through the central archway the lower story, which opens into a vestibule richly ornamented

with raised stucco work, and coloured in blue and

gold, somewhat in the style of the Alhambra . l A part of this decoration has been late y restored . i An incl ned passage, like the entrance to an

Egyptian pyramid, leads down into a high vaulted

chamber, dimly lighted from above, where a simple sarcophagus of white marble contains the mortal

remains Of the great Akbar. Whatever decoration there may have been on the walls is now covered ' . h with whitewash The Emperor s armour, clot es ,

and books, which were placed beside the tomb , are said to have been carried off by those insatiable of marauders, the Jats Bharatpur.

l on Sma ler chambers surrounding the central e, m on the level of the platfor , contain the tombs of

entrance, is a rare and remarkably ﬁne example

of Mogul domestic architecture. This is a two

storied building, known as the Kanch Mahal, and supposed to have been built by Jahangir as a n country seat. In its extremely elaborate or a l h mentation , inlaid stone and ename led tiles ave

been most effectively combined with the carving. ' The repairs lately carried out under Lord Curzon s

orders have been very carefully done, though it is easy to see the inferiority of the new work

r whe e the old carving had to be reproduced. Our fatuous policy of adopting European styles in all public buildings in India is bound to cause a deterioration in the native art handicrafts , for it closes the principal source from which they have n l spru g. Unless this po icy is reversed, nothing will prevent the ultimate extinction of Indian art.

- - — SURAJ BHAN KA BAGH This is another two i of storied build ng about the same period, but not quite so ﬁne in style, facing the Agra road, at a little dista nce from the Kanch Mahal . ’ — Mam ZM NI S TON E A short distance further i on, in the direction of Muttra, is the bu lding sup posed to have been origin ally the garden house of i Z Amani one of S kandar Lodi , in which Mariam , ’ Akbar s . wives, is said to have been buried It has been used for many years as a printing establish ment fo r a Mission Orphanage.

Other Buildings and Tom bs at or near Agra 103

f have reached up to the springing o the arches , and tradition accounts for this by the following — ' story : A camel driver in Shere Shah s service stabled his beasts in the mosque, in spite of the

protests of the saint. Thereupon the building

began to sink into the ground, and did not cease descending until the camels and their driver were crushed to death .

AMMAN r of n The H , o Baths Ali Verdi Kha ,

i i lla . in Ch p to Street, built in the time of Jahangir

An inscription over the gateway gives the date, i D. 1620 A. They cannot be compared in nterest with ’ ” the splendid Hakim s Baths, at Fatehpur Sikri .

A LI C EME ERY The ROMAN C THO C T , in the quarter

Padrit llah u known as o , near the Law Co rts, is one

hr s an o e ri of the most ancient C i ti c m ete es in India. The ground was granted to the mission by

the Emperor Akbar. There are a number of Portuguese and Armenian tombs dating from early

in the seventeenth century. It also contains

the tomb Of the notorious Walter Reinhardt,

r o Samru , as he was called, the founder of the

of Sirdh ana principality , whose history is given

. 8. i at p 3 The Dutch General Hess ng, who held

1 Agra Fort for the Mahrattas in 794 , has a very u of ﬂorid mausole m red sandstone, more curious

SI KR I . 8 P OS ITION lI N GS .

SI KR I . E P OS ITION I

DI N GS .

BAOLI

B N ’ s I N u G O o N E A G H

FATEH PU R SI KRI

I u FATEH PUR S KRI is the famous deserted city, abo t

- r . twenty three miles from Ag a, built by Akbar It l was formerly merely a vi lage, called Sikri , cele

r f i i b ated as the abode o Sheikh Sal m Chisht , a 6 ir or . 1 Muhammadan p , saint In 5 4 , Akbar, return i ing from a campaign, halted near the cave in wh ch the saint lived. The twin children of his Rajput

a . wife, Mariam Z mani, had recently died, and he was

u anxious for an heir. He cons lted the holy man , who advised him to come and live at Sikri. The

Emperor did so, and nine months afterwards

’ h to hishti s Mariam , w o was taken C cell for her t conﬁnement, gave birth o a son , afterwards the

as Emperor Jahangir. He w called Sultan Sali m in

f . honour o the saint Jahangir, who describes all “ a these circumst nces in his memoirs, adds : My

of revered father, regarding the village Sikri , my

to birthplace, as fortunate himself, made it his of ft capital , and in the course fourteen or ﬁ een n years the hills and deserts, which abou ded in n beasts of prey, became converted into a mag iﬁcent

109

THE AGRA GATE —The visitor usually enters by the Agra Gate, concerning which an amusing story

. hi s is told One night Akbar, attended by some of n ministers , was inspecti g the ramparts near this gate, when he observed a highway robbery being committed close by the walls. Turning severely to of those responsible for the peace the city, he demanded why such an outrage was permitted in “ the very presence of the Emperor. It is always " o darkest directly under the shadow f the lamp, was the courtly reply. — THE N AU BAT KHANa i nside the gate the road pas ses, by the right, a large quadrangle surrounded

by a ruined cloister, which was probably used for h a barracks. Beyond t is the ro d was formerly lined on both sides by the houses of the bazar. I t next

N a uba t passes through the inner gateway, called the

Kha na or all , Music House, where, as in Mogul to fortresses, the court musicians played announce ’ the Emperor s arriv al or departure, and various n state ceremo ials. THE IN — M T. Some distance beyond the Naubat a to Khana, on the right, is a l rge building believed i f have been the Imperial Mint. Rare spec mens o

gold, silver, and copper coins from the Fatehpur c Mint are in the British Museum . The bri k domes "

Of this building are interesting, as they are probably the earliest examples in India of the use of radiating pillars, upon which he is said to have performed

' his devotions It was more probably intended for

’ Akbar s own or the gaddi , throne. A door in west wall leads into the cloisters, which formerly con ’ nected Akbar s apartments with the Daftar Khana ' odh and with J Bai s palace. THE KwABOAH or , sleeping apartment, is a small on the pavilion the roof. Originally walls were i ent rely covered by fresco paintings, but only a few

s fragment now remain . U nfortunately, these have

been protected by a coat of varnish, which reduces

m to them all to a dull onochrome. It is be regretted that a more scientiﬁc method of preserving them

was not adopted. They are all in the Persian style,

and, except for the Chinese element which is Often e pres nt in Persian art, there is no ground for ' Edmund Smith s supposition that Chines e artists were employed here. On the side window over the eastern doorway of is a painting of a winged ﬁgure, in front a rock

- cave, supporting a new born babe in its arms. I n all probability it refers to the birth Of Jahangir in i the cell of the Saint Sal m Chishti , which Akbar, e s. r a no doubt, thought miraculou Many a ch ologists make the great mistake of attributing every winged

ﬁgure in these decorations to some Biblical story.

a of Heavenly beings with wings , the inhabit nts “ " Paradise , spirits of the air, or angels, are very Handbook to Agn and th e Ta]

common in Persian and Indian painting, and are by no means a monopoly of European artists. It is known that Akbar took a great interest in “ " - - i . u Ain i pa nting Ab l Fazl , in the Akbari, states that “ H is Majesty from the earliest youth has the es shown a great predilection for art, and giv it

s every encouragement, as he look upon it as a means both Of study and amusement. Hence the i e art ﬂourishes, and many pa nt rs have obtained f great reputations. The works o all painters are weekly laid before his Majesty by the Daroghas and the clerks ; he confers rewards according to

of i r the excellence workmans h p, o increases their

monthly salaries. Much progress was made in the

commodities required by painters, and the correct " of l prices such articles were carefu ly ascertained. f Akbar himself remarked, Bigoted followers o f i the law are hostile to the art o painting, but the r

eyes now see the truth. There are many tha t hate n i painti g, but such men I disl ke. It appears to me as if a painter had a peculiar means of recognizing

God ; for a painter, in sketching anything that

has life and in drawing its limbs, must feel that he

his cannot bestow personality upon work, and is

u of God the of th s forced to think , giver life, and " r nli h t ned will thus inc ease his knowledge. Thee g e court of Akbar was evidently a paradise for

artists. I I 3

’ Opposite to Akbar s apartments is a large square tank with a platform in the centre, approached by four narrow stone paths. The tank was ﬁlled from the waterworks near the Elephant Gate, and the water was kept constantly fresh by an Overﬂow channel connecting with the tank at the back of the

- i- Diwan Khas . ' — THE TURKISH SULTANA S HOUSE In the north east angle of the Mahal - i- Khas quadrangle is a

one of of small , picturesque building, the gems ’ Fatehpur, called the Turkish Sultana s House. It

contains only a single apartment, surrounded by a

verandah, but in the carving of every surface within and wi thout there is a wealth of invention and decorative skill rarely achieved even by the

Mogul artists. The dado panels are especially remarkable for the charming conventionalized n renderi g of trees, ﬂowers, birds, and animals . They have suffered much from the hands of some ’ zib s r of A urang fanatical followers, and all the epre

ntations of i se an mate nature have been mutilated. The carving was intended as a groundwork for

painting and gilding which were never added , for the Fatehpur Palace was abandoned even before it

was ﬁnished. Nothing is known with certainty of n the lady who i habited this delightful bower, but ' one Akbar s t she must have been of favouri es. A covered passage connected the house with the

/ a 11 a n P t . yo mrton nd oﬂm , ho o )

— - - P LATE I I iWN I R H AS FATE HPU R S I RI . XI . N TER OR OF T H E D A , K 115

the imposing dimensions, but only to skill with f which the architect has treated a dificult subject.

i - i- This is the D wan Khas , or Hall Of Private i Aud ence. On the outside it would appear to be

- n a two storied building, but o entering it is seen to contain only a single vaulted chamber, surrounded halfway up by a gallery. A magniﬁcent carved XL column, with a gigantic bracket capital (Plate ) , b standing alone in the centre of the cham er, sup

or ports four branches railed passages, which meet i this gallery at the four corners. Th s most original ’ Akbar s construction carried throne, which was placed immediately over the great column . The ministers attended at the four corners of the gallery the great nobles and others admitted to the audi ence thronged the ﬂoor beneath. The gallery is approached by two staircases, in the thickness of 1 f. the walls, which also lead up to the roo

1 It is known that in 1575 Akbar completed a great building at ateh ur ca ed Ib r h in hich F p , ll the ada t Kh ana, o all w the learned m i i I t en of all relig ons assembled for discuss on. was descnh ed as containin g four halls, thewest ern for the Sayyids, or descendants of theProphet ; thesouthern for learned men wh o h ad studied or acquired knowledge; the northern for those famed for inspired wisdom : the eastern hall was reserv ed for the nobles and state

ni ht mo in r m th h f g and on holy festivals, v g f o one to e ot er o the “ uests and rsin it h m n i n his Han t g conve g w h t e . Kee e, dbook o ” A r - - g a, suggests that possibly theDiwan i khas maybethebuilding thus described takin h r i n r b ll m a sid e ( g t e wo d a sva , o a , to ean

116 Handbook to Am and th e TC]

- — - THE AN EH MICHAULL Close by the Diwan i

on i Khas, the west side, is a bu lding which the the native guides, always ready to amuse innocent “ - Mi uli tourist, describe as the Ankh cha , or Blind ' " a man s Buff House. There is a legend that Akb r here played hide-and - seek with the ladies of the zanan a The same story is told about a set o f h apartments in the Ja angiri Mahal in the Agra Fort , but the only ground for it seems to be that the arrangement of the rooms might lend itself to such diversions. It most probably contained strong i rooms for the safe custody of valuables, e ther state archives or jewels . ’ E — At of THE YOOI s S AT. the corner the Ankh Michauli is a square platform covered by a domed

r canopy. The great carved b ackets which support the architraves ar every characteristic of Jaina con

of one struction . This was the seat of the Yogis, ' or Hindu fakirs, who enjoyed the Emperor s favour. Akbar devoted much attention to the occult powers claimed by these men. He even practised alchemy and showed in public some of the gold made by him.

h r bui in all ans rin to the d s ri i gallery) , as no ot e ld g at we g ec pt on

ateh . hi su iti h im now remains at F pur T s ppos onis hig ly probable, r o n b E mun mi h na h a if onlyfor the eas n give y d d S t , mely, t at n assembly of this kind would not takeplace within the precincts of i i b A F x ﬁ i the palace. The descript on g ven y bul a l and BadAy n

i - -am n r clearly indicates a b uilding like theD wan i , enclosi g a g eat n quadra gle. Fatehp ur S ikri 117

— - THE HOSPITAL Adjoini ng the Ankh Michauli low are the remains of a long, building, which was of the the hospital ; a few wards still remain . Possibly this was arranged on the model of the hospital which Akbar allowed the Jesuit Fathers to build in the city. He also permitted them to construct a small chapel. The records of the missionaries tell us that Akbar once came there ff alone, removed his turban and O ered prayers,

ﬁrst kneeling in the Christian manner, then pros trating himself according to the Muhammadan f custom , and, ﬁnally, a ter the ritual of the Hindus . One of the Christian congregation having died about this time, he granted permission for the funeral procession to pas s th rough the streets of Fatehpur with all the ceremonies of the

. n of Catholic faith Ma y the inhabitants, both

u Hindus and Muhammadans, attended the f neral. Akbar was never persuaded to become a convert

to Christianity, nor does there appear to be any ground for the belief that one of his wives was a

Christian . — THE DiwAN- I- AH The west side of the Di wan

i- am (Hall of Public Audience) and its cloisters coincide for the whole length with the east of the

palace quadrangle. The description already given of the Di wan- i-am at Agra will explain the func was tions for which this building intended . The 118 Handbook to Agra and th e Ta]

r n a throne, o judgme t se t, of Akbar was placed between two pierced stone screens in the verandah in front of the hall. — THE PANCH M AHAL Thls curious ﬁv e-s toried

i - i- a pavilion is nearly opposite to the D wan m. I t

i - i- is approached by a sta rcase from the Mahal khas . Each story was originally enclosed by pierced stone screens ; this, and the fact that the whole n building overlooked the palace za ana, make it tolerably certain that it could only have been used as a promenade by Akbar and the ladies of the

u - ﬂoor was co rt. The ground , which divided into cubicles by screens between the columns, may, as

Keene suggests, have been intended for the royal children and their attendants . The building is chieﬂy remarkable for the invention and taste

u shown in the varied designs of the col mns, in which the three principal styles of Northern India , the Hindu, Jain, and Saracenic, are indiscriminately combined. ’ I — MIRIAH s KOTH . Another doorway in the west

’ side of the palace quadrangle leads to Mir iam s

- e House, a very elegant two stori d building show l ing marked Hindu fee ing in the design. The Rama incarnation of Vishnu appears on one of the carved brackets of the verandah . It seems ' Akbar s to have derived its name from Hindu wife,

a of Mariam Z mani , the mother Jahangir. Her

120 Hand book to Agra and th e Ta] the type commonly found in paintings of stories from Persian mythology. Perhaps the most interesting of all the paint ings is a portrait in a panel in o ne of the

ne as rooms. O would like to know whether this w th e lady of the house ; but there seems to be no tradition connected with it.

of Judging from the style the frescoes, it would seem probable that this was not the residence of ' a an of one of Akbar s two Mariam Z m i , but ﬁrst i wives, whose connections were mostly with Pers a .

B ’ P Jodh ai s alace .

Though Miriam 's House is generally regarded l am an as the abode of Mariam i , there is a great deal to support the view that the spacious pala ce ' or known as Jodh Bai s Mahal , Jahangiri Mahal,

was really her residence . It is undoubtedly one of

the oldest buildings in Fatehpur.

’ We know that Akbar went there on Mariam s ’ ’ Akba r s account ; and, after Jahangir s birth, ﬁrst care would be to build a pa lace for the mother and

hi s - i - her child, long w shed for heir. Mariam was a

a Hindu, and this p lace in all its construction and nearly all its ornamentation belongs to the Hindu ’ and Jaina styles of Mariam s native country ,

Handbook to Am and th e Tal arrangements of the palace are shown in the the r annexed plan. One of most inte esting l c n features is the Hawa Mahal , a pavi ion proje ti g

from the north side, enclosed by pierced stone

o screens . Here the ladies could enjoy the co l breezes and the view of the lake with the i t distant h lls beyond, wi hout being exposed to the

c n vulgar gaze. The palace was formerly o nected ’ Akbar s r with private apartments by a cove ed way ,

on . supported pillars, near the entrance This was

removed some years ago. Another private passage led from the Hawa Mahal to the zanana garden to opposite, and , probably, from thence right down n a the tower known as the Hira Min r.

’ ' ’ B u e or Bir l Rajah irhal a Ho s , ba s Daughter s H ouse.

a Rajah Birb l was a Brahman minstrel, who ' Akbar s of came to court in the beginning his reign , and by his wit and abilities gained the Emperor's

favour. He was ﬁrst created Hindu Poet Laureate ; from that dignity he was raised to the rank of ' one of A Rajah , and became kbar s most intimate

friends and advisers . Birbal was oneof those who ' Akba r s “ subscribed to new religion, The Divine ” Faith. When he perished in an unfortunate

Handbook to Ag ra and th e Taj

All theprobabilities are that this was oneof the ' Akbar s imperial palaces occupied by wives , which

at h r were the ﬁrst buildings erected at F e pu . Fer ' ' guss on s assumption that Birbal s daughter was ' one of Akbar s wives would explain everything ; but the fact that Abul Fazl makes no mention o f such a daughter, is very good evidence that Akbar was not connected with Birbal by marriage.

- The house is a two storied building, splendidly

out. ornamented with carving, both inside and

From the construction , it would appear that Hindus h were the architects ; but thedecoration , from w ich f it is easy to discover the taste o the occupants, is

e r in n arly all Arabian o Persian style, and conveys no suggestion that the palace was built for a Hindu n rajah or his daughter. Though o a much smaller ' of Ak r scale, it is the same type as ba s splendid

was i palace in the Agra Fort , and evidently ntended ) for . oneof th ehighest rank in the imperial zanana

’ ’ Birbals houseis now used as a travellers rest-h ousefor h igh “ ” officials and distinguished visitors ; wh ich is not only very nient for the undistin uished who ma ish to s i inconve g y w ee t, but involves alterations which should never be permitted In buildings c i s c and archwolo ical interes of su h un que arti ti g t. Neither the D r hana nor this ui din shou d bede oted to such ur s s afta K b l g l v p po e , merely to avoid the paltry ex pense of providing proper dak s bungalow . The Hath i Poi and Adj oining Buildings 1z5

P ol i B The Hathi and Adjo ning uildings.

' Close under Birbal s house is the main road — e leading down to the great lake now drain d, the embankment of which formed the north- west boundary of the city. It passes through the gate

Pol way called the Hathi , or Elephant Gate, from the

A uran zrib two great stone elephants, mutilated by g ,

on of standing either side the outer archway. On

of two s the left the gateway are buildings, the o ’ called Pigeon s House, probably intended for a magazine ; and the Sangin Burj , a great bastion supposed to be part of the fortiﬁcations begun by

Akbar and left unﬁnished, owing to the objections

i . of Shaikh Sal m Chishti A little beyond this, on i the right, are the rema ns of the waterworks which supplied the whole city. Opposite to these, is the ’ - or - great traveller s rest house, Karwan serai, in a very ruined state. The furthest of this block of buildings is a curious tower called the Hiran Minar, or Deer

2 Tower, 7 feet in height, ornamented with stone imitations of elephant tusks. According to tradition , it was built by Akbar in memory of a favourite elephant, and used by him as a shooting tower ; the plain on the margin of the lake being the haunt of antelope and other game. "6 m am a m m m wa m

of l The splendid stretch water, six mi es long and two in breadth , induced many of the princes and nobles to build pavilions and garden houses

e for on this side of the city. This was th place

v i great tournamen ts and festi ties , and in the palmy days of Fatehpur all the chi v alry of the Mogul

Court must have made a brave show here. The Hiran Minar was con nected wi th the zanana by a t covered way, so that the ladies might assist at hese

spectacles and enjoy the cool breezes from the lake.

s or Cat e a The Jami M a jid, h dr l Mos que.

The great mosque of Fatehpur is worthy of its ' t founder s lofty ideals and nobility of so ul. I is one ' of the most magniﬁ cent of all Akbar s buildings ; the historic ass ociations connected with it com bin e with its architectural splendour to make it oneo f

s of the the most impres ive its kind in world. I t is said to be copied from one at Mecca ; but this n ca not be altogether true , because, though the plan and general design follow Muha mma dan pre ' cedent, many of the details show Akbar s Hindu

proclivities.

Within the great mosque, Akbar frequently

held religious di scussions with the learned - doctors of al Islam ; and here, so, after the chief Mullahs had signed the famous doc ument which declared Akbar

Hendbooir to Ax u and tb e To]

i s Saint of Fatehpur, Sheikh Sal m Chishti , who e f e tomb, enclosed in a shrine o white marble, carv d

- with the delicacy of ivory work, glitters like silve r on the right of the quadrangle. Barren women , f both Hindu and Muhammadan , tie bits o strin g o r shreds of cloth to the marble trellis- work as tokens that if blessed with a son they will ff present an o ering to the shrine. Close by is a plainer, but much larger mausoleum, for his Kh grandson , Nawab Islam an , who was made of Governor Bengal by Jahangir. This also con

’ tains the remains of many other of the Sheikh s male descendants . A separate vault, called the f Zanana Rauza, for the women o his family is formed by enclosing a portion of the adjoining cloisters.

The mosque proper contains three chapels, th crowned by domes. The principal one, in e

of centre , is screened by the facade the entrance ,

of the doorway being recessed, in the usual style

- u or . Saracenic b ildings, in a great porch semi dome An inscription over the main archway gives the

D. 1 1 date of the completion of the mosque as A. 57 . The chapels are connected with each other by noble

of l or colonnades a decided y Hindu Jain character. The Saracenic arches combine most happily with H the indu construction, and , the view down the “ " - long drawn aisles is singularly impressive. Much of the charm of the in terior is due to the

K — r : 11 ar p I P LAT E i lt m BALAN D 115. q , s en u a SI KR .

13 0 Hand book to Am and th e Ta]

f of th e His Majesty, King o kings , Heaven

of Go d - ud-di n Court, Shadow , Jalal Muham mad k o f Akbar, Emperor. He conquered the ingdom the South and Dau des , which was formerly called

Kh andes 6 i s of i n , in the 4 th Divine year [ his re g ]

Hi ira 1010 A. D. corresponding to the j year, [

a . Having reached Fatehpur, he proceeded to Agr ! Said Jesus , on whom be peace The world is a bridge, pass over it, but build no house there. H e who hopeth for an hour, may hope for eternity ; the world is but an hour, spend it in devotion the " rest is worth nothing. Over the left doorway is the following

He that standeth up in prayer, and his heart ’ od is not in it, does not draw nigh to G , but remaine th far from Him . Thy b est possession is what thou givest in the name of God ; thy best trafﬁc is selling " this world for the next. Akbar himself died four years after this great sermon in stone was written .

’ - The StoneCutters Mosque.

At the back of the great mosque is a graveyard containing the tomb of an infant so n of Sheikh

Sal im . The legend concerning him is, that at the age of six months he addressed his father, ' telling him that all of A kbar s children must die in ’ Th e S tone- Cuttem Mos que 13 1

n infa cy, unless some child died for them . He therefore had resolved to sacriﬁce himself for the ’ h miracu Emperor s sake, and immediately after t is

‘ lous s eech p he died . Jahangir was born nine months afterwards. Sceptics have suggested that he was

of . for really a son the Sheikh , substituted a still

of i born child Mar am Zaman i. Some distance beyond this tomb there is a small mosque, built in honour of the saint by the

of ateh ur f quarrymen F p , be ore he had attracted the notice of the great Em peror. It is called the

’ - Stone Cutters Mosque, and is supposed to have been erected on the site of the cave where he lived

of d the life a hermit. It is an unpreten ing little building ; the brackets which support the cornice are the only noticeable architectural features . They i are d rect imitations of wooden construction , and

o f are copied , with greater elaboration carving, in the marble shrine inside the Jami Masjid . The cell where the saint is said to have lived is on the

- right hand corner of the mosque . The birthplace of Jahangir is pointed out in a dilapidated palace not far from this mosque. It is

of i occupied by a lineal descendant Sal m Chishti , and is only rarely shown to visitors . 13 2 ﬂ m d hook to Al l! and th e Te]

z nd F zi The Houses of Abul Fa l a ai .

t r The houses where hese two famous brothe s, the friends of Akbar, lived, are close under th e north wall of the great mosque. Their father ,

o neof l Sheikh Mubarak, was the most earned m e n

o of the age, and the s ns were as distinguished as the father. Faizi was the Persian Poet Laureate , and tutor to the Royal Princes. He was also on employed many diplomatic missions . Abul Fazl was the author of the celebrated “ Akbar " of hama, a history the Mogul Emperors down t o ’ - A kbar s the forty seventh year of reign. He was ' for a long time Akbar s Prime Minister ; he too k a prominent part in the religious discussions i inaugurated by the Emperor, and often d scomﬁted of the orthodox followers Islam with his arguments. Sheikh Mubarak drew up the famous document

of u declaring Akbar to be the Head the Ch rch , and both his so ns subscribed to it. Abul Fazl declares that the document was productive of excellent results : ( 1) The Court became the resort of the learned men and sages ofall creeds and nationalities

a ( ) Peace was given to all, and perfect tolerance prevailed ; (3) the disinterested motives of the

Emperor, whose labours were directed to a search f a ter truth , were rendered clear, and the pretenders to learning and scholarship were put to shame

134 Hendbook to Agn end th e Tcl

They form a large propo rtion of the popula tion o f

- t North Western India. Their religion varies wi h the locality, but the Jats who occupied Agra unde r

Suraj Mal were Hindus.

180 s ix I n 9, the fort at Bharatpur resisted for weeks a siege by General , afterwards Lord Lak e ,

who d a . with rew, after four desperate ass ults

Di - The Palace of Suraj Mal is at g, twenty on e co m miles by road from Bharatpur. It was

menced 1 2 o about 7 5 , and is the ﬁnest and m s t

original of the Indian palaces of that period. The Jat chief carried off to it a great deal of the loot

from the Agra Fort. — Gov anmum. The tombs of Suraj Mal and his

two Ranis are at Govardhan, a very picturesque i place about eight miles from D g. There are also a number of very interesting tombs an d buildings 1 f r n o . e later date F gusso says of one of these , which was in course of construction when he was

1 there in 839, . that he acquired from its native architect more knowledge of the secrets of art as practised in the Middle Ages than he had learn t

from all the books he had read. The same living architect ural art is practised all over Rajputana

for at the present day. The preference we show the incomparably inferior art of the mongrel eclectic

o styles we have imported into India, is only a pro f

” 1 r r hit c ure History of Indian and Easten A c e t . Bh aratp u r and Oth er Places 135 that there is something wanting in the superior civilization and culture which we believe ourselves

to possess. There is also at Govardhan a very ﬁne Hindu

r temple, dating from the time of Akba . A great fair is held here every year about the end of October, or beginning of November, on the i a occasion of the Hindu D w li , or Feast of Lamps , oneof the most beautifu l and impressive o f all the

Hindu festivals .

M UT‘I‘ RA Mathora , the of the Greeks, about four i teen miles from Govardhan , and w thin easy reach

o ne of Agra by rail , is of the most sacred places of the H indus, from being the reputed birthplace of K rishna. It is a great centre for the worship of

Vishnu .

BmNDABAN r a RABAN , o , which is a very short

distance further by rail , possesses an old Hindu

to o r temple, dedicated Govind Deva, Vishnu , of

the same period as the other at Govardhan , and

a of built by the same person , R jah Man Singh

of Amber, an ancestor the present Maharajah of

Jaipur. Fergusson describes it as one of the most d interesting an elegant temples in India. There is also a great Vishnu temple of the last

century, in the Dravidian style of Southern India, ' built by a Hindu millionaire merchant . Krishna s childhood and early youth were passed in the vicinity 136 Handbook to Ag ra an d th e Ta]

of a on c a Brind ban , and that account it is held espe i lly sacred by the followers of the Vaishnav ite sec t o f

who on Hinduism , ﬂock there in thousands th e f ’ h anniversary o Krishna s birth, in the mont o f — Bhadon (August September) .

138 I nd ex

Eu m ur a lai nar Kana 2 1 n G m Agm p , " h , 3, 1 5 . I t o brahim Lodi, 4 . 11 13 Itmﬁd -dau e 2 8 5 md l h, 7, 5 history £1 A 1 of t m . 4 , 85 ; marble tracery i n tom b ’ Emperor s Gate, Fatehpur Sikri, 127 of. 87

101125 96 M AM M SB ate ur i ri att e of 11 ahen ir i e of 2 connection F hp S k , b l , ; j g , l f , 5 ;

city of; 107 ; A8“ Ga el with 1 ana 1 09 ; N aubat Kh , 09 ; 0& 5 l Th 0 Khana e Mi nt, 1 9 ; Daftar , m m ss or R ord m 0 the ec Cha ber, 11 ; ' ra 68 Janti M» ;id , at Ag ,

Dd hi . 30 Fateh r pa ik i, 126

Jm 38. 4 3. 133 o ai 1 12 1 n J t , 67 , 20, .

' 11 P Kau or Ka an Mas id A 7 ; anch Mahal, 118 ; Miriam s , l j , gra,

’ 132 at i P01 P n Kam bm leof ; H h , 13 5 ; igeo s i m . ouse 12 n i Kanch Mahal 100 H , 5 ; Sa g n Burj, 12 5 ; , Ker i n-nerd 12 ir Km dt hﬁri lh b w , 5 ; H an Minﬁr, s a J ? 13 i mi Ma Ker i n-semi ate ur i ri 13 5 ; J sjid , 126 ; Baland w , F hp S k , 5 ' r 12 Kashmiri Baear A ra 3 Da waza, 9 ; Stone Cutters , g , 9 Moe e 1 Khas Maln l A ra qu , 3o ; homes of Abul , g , 59 az an Kh urra Prince 3 8 F l d Faizi, 132 m , Faz A u 1 2 Koh -i -nur 1 l, b l, 25 , 3 , 133 , 3 eroz Kla n tom Koh nd F , b of, 102 , 5 Fir hshi ok w . 37 LAOLI Begam, 96 G ov aanm , 134 MACHm Bhawan u - - , 53 G ru ka Tal, 97 M A ra 1 tna Bu ar, inner, g , 5 ar m P l A out“ 6 H o , gra, 40, 4 1 u : t o 4 12 Mm it a moe ueof 2 Fatehpur Sikri, 5 m q , 9 Hana or cis ern of ahan 1 Mubarak 8heikh 6 1 3 , t , J gir, 5 , , 9 , 3

a a Ma a ateh Mumtaz Maha 2 1 et r . H w h l, F pur Sikri, 122 L 9, 37, 7 q m o n 8 1 He e. J h . 3 . 03 im ind u enera 3 H u, H g l , 0 iran m r i r 12 H , Fatehpu S k i, 5 os i ta ate i H p l, F hpur S kri, 117 ma un 1 12 8 f o N am e a 8 H u y , 1, , 3 ; li e f, 16 ; Sh h, 3 t i 1 Nizamudin tom of 2 tomb a Delh , 7 , b , 3 139

Shish Mahal. A!“ Fort, 62 u in e Sh ja, Pr c , 30

Silrandar Lodi, 4 , 97

i andra - f ar S k , burial placeo Akb , 4 , 2 5 1 361 15 ” mna a s A r 62 So th G te, g a, ’ w s s ur StoneCutter M o que, Fatehp

Sikri , 130

i ba l of S ura ‘ Bhan-t a Ba 101 Pm pan u m , 4 , j gh,

T 2 ui d in of a; Mahal, 15 , 9, 7 1 b l g

the, 73 ; intention of the, 76 ; descri tion o he mar e p f t , 79 ; bl screen in the 8 1 tomhs in “ W WW , 74 , ; aa t Kana Reinhar al r 1 the, 81, 83 ; am h , 83 ; a te , 38 , o3 J Roe Sir Th m s v iew from theriv er, 84 ; museam, , o a , 16, 26

84 a . am or imur T erlane, T , 4 ad at P i S , r nce, 3 5, 68 Salim r st hr 67 a im a or u tan Is am S l Sh h, S l l , 17, s U ND ERGROU ND chamber , Agra

Fort, 60 St w h nd. s. 6. 74 8 m m M a m z71 57 Vx x aorlxo, Geronimo, 75 an in Bur a r S j j, F tehpur Sik i, 125

a dara 28 ’ Sh h , W Kan s moa ue La ore 88 a ll h q , h , f Shah Jahan, hand and seal o , 15 ;

’ lifeof 2 ; monuments of rei n at i ri 116 , 9 g Yow s Seat. Fatehpur S k . A ra deat and unera 8 g . 313 1 h f l. 5 Sher Afsan 2 m 1 118 120 , 5 221111111, Maria , 4 , 07 , , , S ere a f 101 h Sh h, 17, 18 ; tomb at Sas 13 1; tomb o ,

m am 1 a a 1 . , 8 Zohra, or Zahar B gh, 4 , 94

THE EN D

W ﬂ lWAM t o A ND so u L M TE D LON DON AND ascent s. m um e m s, I I .

- B R U C E. TH E \R D

' 7 ' N . I R x 2. D T C 1 A TS E S U LTS o r . rt y F - e Yea-f “Xx -k ma na ge: t h e T ram a : w: a n s-Wm F ro n n er o f l

' ' — zx t go a c c ro g y B U CKLE H IS TO RY O F C IV I L ] A R x o 1, z) , s x s ‘ e o u o. B y H e n Ta b l as Ber n a.

Cc ézu t E i i t m e. 3 v o ls . C ro w n

" t I HI d i tio n 3 N M C S i a . v o l 1; 5 ii E CO O L br ) E s .

am 8 5 0 a . Cre .

e - — s R . s r u . < 1L A N D A IS TO R O F S P A I N c. B U RKE H Y , H E E A R LI EST TI M ES TO T H B F RO .“ T D E ATH OF FE RD I N A N D T H E GA T H O m a B — D D E LIC B C u es Ra eans . M A . I RE A . L N R y B A GWE L L . W'i a S . H ul a . t h e d ted b M a m A . 6 T H E 7 J n t B . it y ‘ w SW . net . 2 s o b . ro n ) . 165 M ag s. C

— HE LAN D O F C A S S E R L Y . T i t he T H E B U XE RS : or. Ch na under

— RD O N Ca s s n R Lv . T H E RIE N A L. B a t in GO I. I E . y p B A I I. O T C a d a P lan . H A Y -J E E K S U AR E 8 W111: IS “1m m an ( . L L B Q ,

1 . l W P no zo las. 6 . net a u } . 6 A a n n u a —F B m r e n s F g a - x c P i r a t s a ;

C — IN D IAN PO LI : a HE S N EY . TY ' O — T ﬂ b H IS TORX O F s tem of A m inis t ra tio n in B E L M RE ' \ Iew o f t he S y d

General S ir G EO RG E C u es x nv . . N D F I T N L Ls rrl R “A XO R S A O ndia . B y ' n M a s ho w rn all t he A u na i 1 t A R F B E L B . T H E I R ) .S N E R S B ) e E L O KC . p g d ’ I H o un t t n e D I n sions of B ri tis h I n ia . 8 v o. “ 0 -4 1: I . C ( 5 C “ . G . s t ra . C y d T r n c o r m er l (30 s em o r o f N ew S o ut h , ; . f y - nl r “ta les Re I s s ac Reu sed a nd E a ged . ' ’ n et . WI t n I O rt n u t . Wns r 0 N S “ We“ I. N T — T H E H IS R 0 1: B E S A . TO Y Wt h B y S Ir WA LT E R B esa s r . i a 0 4 r 7 4 I lla s t ra t m ns ro n 8 1 . I s. 9 . O C ‘ E R WAR : a n i s t o ri ca l P z k 111 e es TH E RI bo u nd a s a S c ho ol r i e B oo . 3 dg . H f A cco unt o f t he Reco nq ues t o t he S o uda n.

l nel . R HOD E S Ed ited by Co o F , v e Po rt rait o f Vis c o u nt H IS R O F \y11h P ho t ogra ur B R I G H T . A TO Y “ when“ “WW“‘J M 22 1m m a nd

R N O LA N D B t he Rev . J . F a A s c u y 6d . net . P la n s . 8 v o . 108 .

“1110 1” I) l) ,

’ - r I M E D I AN M . M ON ARC HY : : I c io d . T H E S TO RY o r THE MA LA

n 8 v 4 5 . “ 9 14 85 ro w o , Wi h I LD FOR E 1397 . t 6 C K A N D F E C . ﬂ ro w n 8110 38 ed . M a ps and P la s o C » M ON A RC HY . Perio d I I . P E RS O N A L

H HS I li i li ro wn Bv o 5 1. C , I I O N S T I T UT I ON AL M O N LON D N LAD S M VI A P eri o d II . C O TO Y TH w 8v o 63 . d P RE OR I A . ro n , R I V NH!) 18 37 . ro w n li v e 75 . 6 A L I . C , T C

’ -m i l IV T 1111 G ROWTH O F D E I m . ’ i t h - wn v [ AN AM I L ON S M ARC . W M I I L It Ac v . IBM IM O. ro 8 o 65 . C , H T H - i Ian Ha m il P o rtra it of M u m General S r ’ r m I E T I n nd 0 M a s and P lans. rown l c d V. IM P E R A L R AC ON t o a 1 p C - 8 v 0 63 Vic to ria 1880 01. ro w n 8 v o 4 1. 6d . . . 10 C , ’ LON GM A N S A N D co . s S TAN DA RD AN D GE NE RA L WOR K S. 3

Hist or Po iti cs P olit Politic a M mo i —conti nu y, l . y. l e rs . eta ed .

CO BE J U LIAN S . - J u n . rtm R TT ( ) F ROU DE ( g A ) timu d . D RAKE AN D T HE TU DO R T HE S P AN I : H STO RY OF THE N AVY wit h n Hts tzor of t he R Ine oI ARM ADA and y . other Essays. Or . 8m ». E n la n as a M a ritime P With g d ower . Po rt rai ts I llu t ratio ns n hi 2 . s a d m vole.

ro wn Bwo I61. C . T HE ENG LIS H IN IRE LAN D IN THE S CCE S RS D RAKE THE E G E N U SO OF I HT E TH C E NT U RY . 8

Wit h 4 r r i Ph t v u v ole. ro w n M Po t a ts 2 o o n res and O 105 . 6d . ( g ) C . I2 M m m d Pla ns . Sv o . 2M. E NG LIS H S E AM E N IN TH E ENG LAN D I N THE M ED ITE R S I X E E N N U Y T TH CE T R . RAN EA N : a S tud y of the Rise a nd I n uen Eri tinh P wer within ﬂ ceof o theS traits . Ca bi net E dition . C ro n 65 w M . - IGOS l7 l3 . 2 v o ls . Sv o . 243 . net .

I llustra ted d i n 5 E it . W G O N M . la te Lo rd o it P h ot o C D O. REI H T ( , h v nre Plates n I t h r I s o n n . a d 6 o e u r i B i ho p f Lo d o ) ll st at ons . r eCrown 8 v o ilt «net g . g ma . . A H IS TO RY OF T H E P AP ACY S ilw r L br r F RO M T H E G R E A S I S M O E i n v Edi tion C r . 8v o T CH T TH , 83 . d S A O F RO ME “78 4527 . S v ols . Cr . 6 . C K .

SW» 85 . net eac h . . T HE C N I OU C L OF TRE NT . E E E LIZ AB E . Wit Q N h ro wn Il H 5 . U T o 3 . 64 C v . P o rt rai t. ro w n 8m 5 3 net. C . . S R S D IE S ON G RE A H ISTO RI C AL E S S AY S AND RE HO T TU T S U BJ E S . i u CT V W t e b c m C annonro n. I E S . Ed d y Lo

ro w n 8m 5 6 . net . C . Ca binet E dition 4 l s v o s . 4 H ISTO RICAL LECTU RES AN D R it b S ilw r Libra r Ed i tion 4 v ols . A D D E S S E S . Ed ed y Lo m s n y

u s to m s . w n Sv 5 3 . net. ro wn 8vo . m h . C Cro o. C . — KE 8 . D T HE P RINC I P LE S C S AR : S et c C r . 8v o 3 s . 6d ALE OF k h . E N GLI S H CO NS TITUT I ONAL HIS S E LEC I NS R M E WR I . O RY . B Lucv D A LE la te S cho la r o f F T y . T O O TH T

i ro wn 8 s I N S OP J AM AN O NY ROU DE . S o merv lIeColk fo rd . v o 6 G ES gn C . TH F . d ' b P . 8 . A M A . rown 8v o y m C . D E O C E D E M » i s? T QU VILLE . O C RACY I N A M E RI CA B y ALa x Ie on u n Tooq v nw LLE . rans lated by Ha v Relwa. A Su m EL RAWSO N T G RDI NE R ( . 2 v oh . C ro wn 8v o . lﬁs. D MC L LE D . ) F ALKINE R —S DI ES IN I RIS TU H I S RY OF E NG LAN D . rom I S O RY AN D B I OG RAP Y mainl o f H TO f H T H . y t he AM of J a mes I . to the Out break i h . N the E g teen th Centu ry. B y C LITTO - he iv il War 1 1 With 7 Ma s . of t . I ons 64 p P A LIt m s n. Ev o l25 . 1. net . C . 0

10 v olt . ro wn Bv o as net eac h . C . . N — T HE IS RICAL FRE E MA . H T O A IS T RY F THE G RE A GEOG RAP HY OF E U RO P E . B y E DWARD H O O T C I VI L WAR Wit h 5 4 Ma e A. u nn y LL. D . hir E i tion . . n F . T d d la n and P t . 4 v ols . Cr 8v o. 5 4 . net et ch . E ite by J . B. B o nv . M .A.. D Lit t . LL D . d d " R b e P rofes s o r o Modern H is tor y in the v 4 I O R TH MM N i br . Bwo . A E C er t of a m i e m 8 . U s y C dg . H ST Y OF O O WEA LTH AN D THE P ROTEC TO R Ar m s to t he a o v e. Wit 85 Ma s b h - p lean 1 4 v ole. row n Ov o A E . m T C . In “ h urt M y 65 . 65 . net eech. P ROU DE IJ A n Es T HE STU DE NT 'S H ISTO RY OF W 8 i T HE IS R E N LAN D ENGLAN D . it h 87 I llustrat ons . H TO Y OF G . ro wn Gwo ilt to It . C . g p. Iro rn t he Pnll nI Woln to the Deieet o l ’ y l - A so m Thm p I icedi . eech . I v ol: t he S pa nish Arma da . ? Cr own

M 84 . 0d. u ch . W HAT GU NPOWD E R P LOT THE D IV RCE F CA E RINE is W S antu-av e O O TH u W C . O N d . L P ARAGO . 8 TH E SUPPR ESS I O N O F THE W I 'S P LA E HIS C RO M E . L C I N V un on S ix ec u er d e TO R . Po ded L t r l l ivered In t he U nix en t yo f Ox ford . Crown

M 3x . I”.

R R MW With OLIVE C O ELL . IP I A’ I'O N O F T H E E D E R ON l n v . T C F ro nt n ieoe S o . 5 5 . net p . Crow F AL C ST ITU T ION I N N A S S AC ' H B S H B . Hm om o . A M . 8v o 6s . G E R M A N E M P E R O R S y . “ (T II P ‘S P E cu p s : belug a Selection ”o n: th S e c es d i " Le e s and e a s e e e . e m p h . E tt r T l gr e i i I I a n ate of the Em p ro r W ll am . Tr s l d by

o m M . D m ne L ms Em a. 8 . t .

GE RMAN E M P IRE (T I-I E ) OP TO- DAY : O utlines o f it s Forma tion ‘ ' v eh . and De mment By VB mTAs . Crown

8v c . 63 . net .

G R A] !A — R A A R A M . OM N F IC An Outhne of t he “M a ry of the Rom a n oI a- rlca ch t No t . efi y “ IN ! an:fi Wa M W t ln t Co o tha u t fi l" ne Gm u ng . ' Wth m u lo n a S Rng. . i od ' A p ct SI Oél ifa I D evv in : b ge ra tg and g r g y t or. 2 T b l M “ r - . 165 CI . I ” gAit g; “ REVI E — A R A O F r G LL . JOU N L 33 d THE RE G S O F KI G G EO R E I V G . I N N . K G V IN WI LLIAM I AN D Q U E E N T

O R . C u a aw s C . F Ona w u VICT IA Byy ﬁ . me ! le o f n i 8 for r C rk the Cou c l . vo ls .

n 33 . 11 eac . Crow 6 . h GROS S — T HB S OU RCB S AN D T E RA T R E O F E G H IS ’IO R Y LI U N LISH . F ROM T H E B AR LI BS 'I‘ T I M E S T O O 485 6 m U 1 . B h u m m Ph . D . AB T y C .

av o . ms . net .

— HIST RI A R E HAM I LTON . O C L ' COR D O F TH E 1411! (KING S) H U S

S RS ro m A D. 17 15 to A D B A . f . N y ‘ Colonel H es a v B u c u s m mg H u turo n M HA is h u c O a e Co m . Chr t C r h. xford ; l t in m od g the Regiment . With IS Colou red Pit ta 35 ai s etc i n P ho to ra v u l‘e . Portr t . g . HIS TORI C TOWNS E and IO M a s and a ns . n 4 h ) i p Pl Crow . g lt u m 13 k a n d Rev by E A P t na . e es 425 "et ‘ dg , U T M A M a fl md P 13 05 Wm . um H N . p m n fl fi M m — A R m H A R T . A C T U L GOV E N M N’I" AS E D D E R E R E . APPLI U N AM I

CO D T O . 8 An a“ ? u u CAN N I I NS B s H un t . rum . A T LL. D . P em is H R . . of H tory i i i 7 in a ar U n v ers t . 1 M a ps and i n D D H rv d y W th e . ' . r ghto d i‘ S e cm SVO 7 3 . B M C W . C . q ue P o m By w &ontagu B urro s . — R R N M N v H c es e Re . I L L . TH EE F E C H E Col h t r. By

u s . B . L. C tt

B . Exeter . By . A Freem an .

ma p M t m . u“ MW ” cu b m . m yg ,

- T RE E A . G A I N I O G B P O I L V LY N EN L N D W L L U H Y . L I T CA

AG E O F W E . Om en s THE O R I ES O F T H E A N C I E N T WO D THE YCLIFF By RL .

M M Y T eev eLv m . Syn . li t . Www o v P h oo a D . Cm n U . net

A E MA AN D HA S SA LL . W K N I L L S O N — E DG E R AND INT RO D UCTO RY THE W L S O R D ; . The n u a e a S TU DY O F E G LI S OO N S T IT U W or Ho o r bl N H M H ts of in m i W l g to t T lO NAL H ISTO RY . Ed ted by H B N NV T Indies 8994 87 . B e a 0 0 By c u s e “ ﬂ u x es . (” N - UV M A " m d ARTHU R H m M t h num erous Portra it s a nd I llus tra tion em M A . n sy n Gs. . Crow . m v o . 2 8 . 2l8 net

' “ . P O E . S ir PE E R J AmE S IIA M I LTO ( . YL N M . A . keg L S NC W I E ( , l H I STO RY OF ENG LAN D FROM TH E CO NCLUSI O N O F TH E G R E AT W R I N was 6 A TO I s . n GSB. vol Cro w

Ov o Gs eac . . . h TH E H ISTO RY OF TW ENTY T HE COUNCI L OF CO N STA NCE F S Vo I n TO D E T O F J O E E R I I I . ls . a d IV Y A ( GSG % I . THE A H H N H US

I I Crown Gs . net . . M . [la the P M . M

B io Pe so na l M e oirs etc . gra p hy. r m . — — A N R AN D A . B CO . TH E LETTE S D N T E TH E L I F E AN D LIF E O F R O INC LU D o WOR KS OF DANT E AL LI O H I F ANCIS BAC N . E R I : being I NC LL H IS O S O O R K a n nt uc i n the S u ’ A CCA I NAL W S . I rod t o to ! t he Divine ’ it e b J a r o m o 7 o e ia . B the Res Jd o ns s S e u . Gv o i v ls . m Ed d y . Co d y t ‘ ‘ WM 9 mm " M m M B ii f; E E o T 0 AP IC A DA NT ON LI FE OF D A M ON D E . T B o u n T U L E A e o r. - S I S By A R row . . B eas t Y. “fit h Po r t m i W C By A H eg . C ro wn Gv o Gs E A I N . . . B y J D E B O D E “ FH E B A RO N ESS EX N E B u s LL. D . m e i us P u AL A D R . . E r t D E 8 0 0 8 . lm lm B Wi c c nc l 'u h l ‘w n i ’ u u a s m s P en s a m n. wmﬁ p ma e; i'géuipfem ehtsii-yt h igt ez n t s [l lu P res . N — R BLOU T . TH E M EMOI S OF S I R D R D E O T ETC . WA BL U N . ite S w a n? Ren i Ed d by J . o . W th 3 L I F E A ND L E T T E R S OF a u e a tes . Bv o n I ls . 6d . et . ' Photogr v r Pl . l E R A S M U S By J a n u s A N m om

F no uo s . C ro wn Gd WE N - AR M . B O . EDW D BOWEN RA A E O R B v T . the Re . t he Ho n w . . [ M M I . 8 TH E EPIS LES E S M US Wlt b e i en . nd ces 3 Pho to ra v u Bow pp . g re

ai s a nd 2 e I us a i ns . Rv o Portr t oth r ll tr t o ,

125 . Gd . net . A R — A R C L Y L E . THOM S CA F — A E : is t or his Li es A R A D A Y . RA A AS A LYL A H ory fe. By J u l F D Y A~1 n o uy F ao up g D O VE R E R. B J O H N TY N ISC y DALL. Cro wb - 8 V0 ' 3‘ 6“ 17 95 1835 . 2 v o ls . o S Cr wn v o . 7 s . 1 4 83 o s . o 8 s wn v o 7 . v l Cr . F EN ELON 5 0 m m " — » i “ COLVI LLE . D uen s s s SARA H : s i i W th Portra t. bei the S oc ia l is tory of t he Times of H — S a a en nin s D uc ess M a u F OX r J g . h of rlboro gh , TH E Com piled and a rranged by one o f her deseen m m n M rs . i da ts ( A a Co LVI LLe) . With 10 t a u e a es and 2 e I llm t m Sv o 33 . d Pho ogr v r Pl t oth r . 6 .

i n s . Gm 183 . net . t o . R O E M Y R F U D . E A T I O NS Z — M Y R LI L CR E R I NN E F E : T R E o J O I WI H CA LYL . MAm A mm an“ ein a ter in e s n “ u i n b g C P r o Evol t o a nd F ao u ne Together“ 5 “ ‘ ‘ A ut . B J O HN B BAT I I E C RO Z I B R la te S ir J A a es T N y y . E PHE a . S . B rt 128 m m M ? a e Decem e 1886. “ 0 2m d t d b r . . m — B io r Pe s on al Mem oi rs eta con i nue . g a p hy. r . t d

R R S IR MAX U R R . G E Y . M EMOI OF M LLE I ) G EO RG E G R E Y . T I FE A ND ETTE RS OF B N a m n D. D . a e L H E L L M A D E IJ . inn o C . . l t ord R G T HO N . R E D R 3 ai s . T E itho p L n n . i I H F I ICH of o do W th Portr t i M E R . i e his e. i n is net . LL Ed t d by W f W th 8 m ( . Crow . — Phot ogravure Portra its and ot her H A N . S I R io n 3 . et. L t r t s . s 82 n M I T O LI FE OF a 2 vol . M

WI B R . P . G RA v es A TO . LLI M HAMI L N y .

8m ) . 3 v ols . ISS. ea c Ao o eN O I m. 8 v o h . . M Y A U TOBIOG RAPH Y : a Frag

“ se e . men . i 6 a i s . Gm 125 . 6d . w d t W th Portr t ) . ’ I-I ARROWS O REG E R C H OL IST A A S eco nd U D NG SYN E . - L L Is 0 ite M G . D AU OLIG H (111 3 i 190 . Ed d by . . S e ies . 8 v o. 103 . 6d . 8V0 53; ﬂ s r .

HA ; - R o p S I R R A R VELOCK . M EMOI S C H I P S F OM GE MA N

K B . J o a n E R V O . . R i E KC O K . B i O P Vol. . a H N Y HA L C . By W SH I I ogr ph ca l

A M a ns o : m n 8 v 0 3s. Gd. n» s sa s . n 8v o 53 . CL RK . E y Crow . — HAWE M Y M U S IC AI . . IS . LI FE R M O R I S . TH E LI FE OF W i ai t Rev R . H A E IS . y he . . W th Portr t I O . . a . H WLLIAM M RRIS By J W . M m a fr Ric a a ne and 3 I lus ra i ns . h rd W g r l t t o Wit h 2 Portrai ts a nd 8 other I ll us tra tions n Sv o (i s net . row . . w v . n C . . N e etc . 2 ols La e by E H . rg Crow

8 103 . net . H I GGIN S — T HE BE RN A RDS OF yo . ABIN GTO N AN D N ET H E R WINCH E N P I R R ON T HE A S OF T HE DO i i B M rs . N A N : A Fa m ly H s tory . y B NK Y ‘ H I I s H E . B . M . P . . A u tho r of ei n GG Ns . 2 s . syo 2I . net . vol . S I N A For g

Co urts and ei n mes . 8 v o 85 . H — R A For g Ho Cr . I LEY . M EMO I ES OF H LF H E T R R . B Y A C N U Y . IC ARD W HIL . P A — R A N D G E T . M E M O I S D . O. Vica Byi hill nea . r of g . r ETT E R O F S IR E G L S JAM S PA ET . Y s . 8v o . ISS. ork i e T PH E N a c er o E ne his so o n. Ed t d by S P . of M h i — t a . 8v o 63 . net . HU N T E R TH E LI FE OF S IR Portr t . O T E R I LLIAM I LS H U . W W N N RAM A RIS HNA H IS . A LL.D . C S E S RI N M . N N Y . N B I FE B FRA H R . K L I H AN D S AVING S . t he Ri on . . F . S . i P a u S . W th 6 ortraits (2 Photogr v res) By ght F

M A X M ISLLR R. n M o 5 3 . a nd 4 e Il us t a i ns . v l& t. net . . oth r l r t o 8 o . Crow ACK N — A A K H — AR R S O . R . j STON EW LL J C IC M Y IC H . COU NTESS SO N AN D R WAR O F RW K Her a THE AM E ICAN CIVI L . WA IC F m il ‘ - ieu N N i n m m . ien s . . E S Wi L 0 . . B D B Rs O . a d . R H t B t Col . F W th Fr d By C F LL h

o s l . a u e ai a e 2 rtrait an d 83 M a ps and Pla ns . 2 vo s Photogr v r Portr ts nd 9 oth r Ill us

n 8 v o Iﬁ s. net . t ra t io nq 8 v o i ltis . net . Crow . . g lt top. KI E M A AR L N S E GGE . DI Y OF R C S AN D R A JOU R E Y TO E G LA D I N T E O H E T O T H E N N N H ERA R RA es OF THE OU RT E R I78 l- I762 B y un R E E C LIT Y C Y A S Co t F D RI K O wn n A F HA E . some C KI B LN A Ns s o i C RL S I I i 4 I us t a n . o s . s . W th ll r t o Cr O N I U NT or THE RS U RROU D NOS . 8v 0 5 8 net . I . C . B t he A ut ho r oI ‘ The Lite oI S ir H — R ’ " ’ R . m Life a i et wan. r c. Is LU T E LI FE OF LUTH E by. of Pr g. J v u us Kii N i Gy ea s r LI i 62 I us a i a s . o l . By . W th ll tr t ons Portr t . a nd 4 i 3 im of . v acs es . 8 o 3 . 6d . F l MSS Cr . R 0 A N E S A A A — T HE AN D M TH E LI FE M C U L Y . LI FE A N D ETTE RS O F G EO RG E O ETT E R O F O R D L J H N L S L MACA U LAY . By S F . R S . i n RO E M A. LL D . e t he Ri H MAN . . . . . Wr tt " . on . 8 G O. T E E Y N a ght R V L A . B rt a nd i e his i e i P o rtﬁ lit an d Ed t d by W f . W th

P o u la r E iti n 1 v l 8 2 I us a i ns . n Syo . 53 . net . o o . . v o p d . Cr . ll tr t o Crow

’ A S tud rnt Editio l o l v RU SS ELL SW OWFI E D s n . v . . 8 o 65 . LL L Cr . AN D I W R ns t anc e TS O E . a binet li n N S Co Edi . 2 v o ls o s t o . 8v o C P . D Y S S E o f S w llo u lI Parlt i R a . LA LL, W th 123 U . ls Photogra vu re Portra its a nd 36 other E dinb h u E di ti on . 2 o s . Sv o r v Illos tra t s i o i e 4 15 . net . ion . t e s 2 g l . . g lt dg .

( s ea . i . ch — X R R E Lrb tw n l E . F m r Edi . 2 v o S s . v o 863 y . . SE BO H M TH E O O D PO R M E RS ~ J O H N O ET E R S — C L . ASM U AR E R ’ M BOT . TH E M MOI S OF A N D THO MAS MO RE a His t or y of t hei r ’ a s RO D E AR OT . 2 m C l . e - RII RIo S n al w . F os s BA N M B F llo Work By ea o . gV0 ?3 . . 8m m . — . n lv s E A. N P N o a . . Cro w . WELLING TO L I F OF D U KE 0"WE L GTO N T ALLE N TY RE - LIN By t TH E WOM EN G G m M " ‘ ' R ' “ Cw “ M 3" 3 O F TH E O S a nd e enc ” SAL N . oth r Fr h

. W ai s B S . 0 TALLE NTY RE it ? I I tr t y . . I

W. P t v I h t a u e ort raita. l o Ica u oet . P o ogr v r . WI LK NS ( M N A R ’ T H O SO . EIG H TY YE S A Q U EEN OF T EA R S : Ca

RE E ES . ne . » Ma i a ueen : MI NISC NC B Colo l J A t ld . Q of Dem nar lt m I u W r t M R T o us o n . it m P o rt ai a a nd of n a n S is e E gl d. t r of George I I I. ' r I 3 net . ot e us a i ns . 2 v o ls . M 21 rt ai : R od e I llus i ll tr t o Po r t oth r tra t o ns . M 35 3 R - R VE NEY . : M EMOI S OF TH E VE RN EY FAMI LY D U R IN G TH E T HE LOVE OF A N o r ile S EVE NTE E NT H C E NT U RY . C n p d from the Pa pers and I ll us tra ted by t he

a i s a t a d n Ho m e D uel“ . Portr t Cl y o . By FRAN C E S PART H E N O P E VE RN EY and T M VE N Y i a n E . d MARGAR E . R Abr dged

i ai s . 2 la. Chea per Ed it ion . W th 24 Portr t vo m M C C A ROLIN E TH E I LL U ST E ~ R A E 8 9 90 . ol Geor eI I a VICTO I , U EN , I I I I g . nd ao

i R IC R A R D R. O LIII E M . V .O P . S . A. “ a S u 0! Her BP S . . t dy i . Bv o ine. m i “ i u e a n 42 a s th Photogra v r Portr t Crow . t Portr t a nd 0 t h

iooa. Br s trat o lz . i 83 net . oet . g lt top. . .

T a v el an d A v en u e t h e Co lonies et c . r d t r , , — AR A AN D A . RA The a te a d NOLD . SE S L N DS B SSEY ( L L y) . ll’ \ ll s S E WN N O LD . \ lt Il 7 l I u t rw By D I AR A AG IN i n C m " 8 3 VOY E T 3 6d . t o . H E ' BEAM : O U R H O M E O N VE ‘ S i. 5 OC E A FOR E LE MO N BA KE R ( , N N Ga bi” M 5 0” Wit h M “ AR IN N . EIG HT YE S C EYLO . m m m r n M I “ i 6 I s t C ow “ u a i n . n av o 33 . 6d W th ll tr o Crow . . m TH E R I FLE AN D TH E H OU N D

I N i 6 liluat ra tio na . . C EYLON . W th Cr

Ev o . 36 . 6d . Po mla A LL IJ O R N i / B i ns . 4 (ﬂ a e “ cl h t o to. w d ; ot . T HE A Rec o n LPI N E G U I DE S ch ol E di ti n Wit h 37 I I o o . I s truc ted a nd Revised o n beha lf of t he ” P " M “ 33 ° WM “ ine u b w B . Coo u oo e. Alp Cl b y . A 2333 l R A S : Vo . I . T H E W E S TE N LP S lJ s fz AN D S TO R A t he i ne R Io n S u t he R ne e - v Alp . o th of ho ﬁg lg l g r‘ Valle m he dc en a to the fro Col T d PO WW “ Mb 103 S im P s i New a nd Rev ise P p as . W th 9 d t to se e I s . l . M w d : c o th et . M a n 8 l 5 . o s . v o 2 p Crow . IN RA T HE T R AN D P RAC TH E T DES O H I NTS NOTES , AN ” TH E O AR ING PO RTIE T A N D E T . PO R TR A ICAL SCI N I FIC . T : in a a bi net E i ti n Wit h Y E LLE RS I N T H E ALPS be g C d o . M a n e al I n uct i n Re is i n of t he Ge zzo lllu g t m t io ng, 81m m v o r trod o to Cr. . 3 m t l ine Gu M O 33 . net t he A p ide . COCKE RE LL _ T RAV E L S E - R E SO T E R E RO E AN D B N T . TH E U IN D C ITI ES U H N U P T H - O F S O D : ein a Rec T I8 l0 I8 17 . B . R . MA H NALAN h s ord of VAN . y C i R d i bi ca a ti n and a i n In I89 l . B . c ec . .A. e s S o h Ex v o Explor t o y J Ar h t t E t d by .

TII R N it ? I us a i ns . P a v COC E E RE LI . EOD O E BE T . W h l l ll tr t o With W IOS 6d net v 5 . . . Crown 8 o. 8 . 8d .

THE B ADM INTON LIB RA RY.

b H R E m s I G TH K OP A U R ite i s . Ed d y G AC (E H ) DU E B E FO T , K A a nd A. E . T . W TSON .

M r . s . m . m a nd A G R B . Lo n Y ARC H E Y y C J . o D NCI NG By LI LL

. O N i i h n i u i ns b M is s D E Co l. D nt i u i ns H WALR . W th Co r b t o W t Co tr b t o y M I DL

n . M rs . RR WA G E O i N Wi The Ho A etc . Mia LE N sc un D LO etc . . V o t IL . . 2 23 PIa tes and I72 IIlust rations in M usi ca l E x a m pM and ullo oa ge P I us i ns in t he t he n Bv o c 63. net : a l and 93 a Tex t . C I Crow . loth. h f ll tr t o m u nm a t- bo und wi t h ilt m h l . g

a. net . T GU E A T H L E T I C S . By M ON A R RIIA N “ S EA . it h Cha m 0“ M W W D R IVI NG . His G r a ce S c . B EAC II E R T no m : et ic hool by W Athl n h th D unn or E FO T KG ) B AU R . . orts in me ica b . H E I a S p A r y C . S RR LL ; H b ut ions E T . Wa ggtri . . r s a w t h e by A . n i u i n o n Pa er c h as in . Ri t a Co tr b t o p g b W . n i O P O s w etc. t 12 w . W h Pla t es an and an I ntro d uc tion by S ir Ric Wenm a llus a i ns in theTeat . n Ov a t I tr t o Crow . ( L ALVB RST O N B ) . i I2 a es and ord W th Pl t Iia net a i n: i : M g lt w as . net 37 Il us t a i ns in the e . . 8v o c c l r t o T xt Cr , lo h .

83 . net half un i i as. net . : bo d . w th g lt top , X F E N C I N G . B O I N G .

R E T G . B A T E P W S LIN y W L R H . ou B IG GAM E S H OOT I NG . B y . . GRO E . P REVOCT . M F . . E B , rrc - C V C E P H I LLI P Ps WOLLE V. CL s no IV a nd WALTE R Aan rno . W i th 18 F

Vo I A N R and 24 I ust ati ns “! n ex . AFR C A D A E A . l. I . M IC ll r o T t Crow:

lo t h s . net a S i r M c ﬁ ; : With Contributions by SA U EL W .

S E os et . E . . . Lo c BAK R . W C F C . . With 20 Pla tes and 5 7 Illus tra tions in t he H . B . CHO L M O N D E n n FIS ING y H e . 8 v o. c . 65 . et : a h T xt Crow loth h l P EN N RLL un i i as . net . bo d . w th g lt top . V ol. . O A N D RO V I SALM T UT . V o l . AS AN D TH E . U RO PE N I I E , IA, n i u i ns . R . F RA Nc I s II R T R E S i n i u i ns Co tr b t o by . A C IC G I O N . W th Co tr b t o H O N . TRA II ER N E . et c. i 9 P Me - ne R H E R R E Y Ma J R P W th at . E by Colo l P RC . or and n um erous Ill us tra tions of Tac kle ALO E RNON . E E E Y etc . H R P RC . W h C D -« n Br o. cluth ﬂ net t a h o u nd es row h lf . I7 Pla tes a nd 56 Ill us tra tions in t he T t . C i 95 . net . g lt top . n Bv o c h Gs . net : a un i Crow . lot h lf bo d . w th

i 93 . net . g lt top . V ol . AND OT I I . P IKE H ER C O I

AR . M o W. RO D a n t i ut i n s B I LLI DS By j r B A FI S H . Wi th Co r b o h t h e WL r r R E . i n t i u i ns b w e o r Ex m u I CIA M oo . W th Co r b t o y A . H . E N I OI

D . . F R D t u R Is E R VI e W S VD E N R A II i x o N O e c . m P II D S tc . i t Bovo. . W J . A . h 7 i a es IS ust a i ns in the ex a nd n ume us I lus a i ns T a c kle W th l l Pl t . Ill r t o T t , ro l tr t o of - an d nume us Dia am s. n 8wo c n Sv o cl t 65 . net ; a un ro gr Crow . loth . Crow , o h. h lf bo d . - 65 . net a i i 3 . n t I"to 3 . : un 9 e . 9 M e h lf ho d . w th g lt top. “ p . R A RY COU S ING A N D F LCON . A . Hrs ro av b N HARD I NO Co x C N A RLRs RIc u A RDs O N FOOTB LL , y By . . n o us S u EA RaA THE SSO I T I N n s s i N ; A C A O 0 a d t he Ho n G E LA CE LLE . . RALD W th ' W. . OAitL B v and G 0 . S W “ in the e by J : a) Pla tes a nd 5 5 Ill us t ra tions xt . T R uo nv N O N G N E F RA N R M rr i - U A . by c n 8wo cl I t h (is . net : a un i I Crow . h lf bo d , W th i e n i u i ns R . i W th oth r o tr b t o by E . 99 . net . C g lt top , N KE N P . . N AO HTE M . . Vi , C , J E m

T E M P and . S m em u n R K E a nd t h e WAL R CA A . B . TE C IC ET . y A G . S L ls a es a nd 35 I us at i ns in th e ‘ ‘ Pl t ll tr o Ho n R N n i u i ns . LYTT E L I O . i . H W th Co tr b t o - n 8 m c 65 . net : a o u n Crow . loth. h lf b d, P . G E N E W N O . . G E by A DR LA . W G RAC , AL . i . 93 . net . i 5 2 I us a i ns in g lt top etc . W th I3 Pla tes and ll tr t o

t he e . n 8 v o c t . 6s. net : a T xt Crow . lo h h lf

LF . O R E . U TC H un i i 95 . net . O bo d . w th g lt top . By H AC G H I N

i h n i u i ns t he R t . H o n W t Co tr b t o by . he R O F A B E G . t B A LPO U R M . P . S ir T E S m CYCLI N By EA L L . , WAL R N D e it h : . i N E LA tc . III A RLE nd . A v E l9 a . . 3 4 1 a G L c HILLI R W th B rt . A DR W W a i ns in t he e in . I us P la tes a nd 44 I ll us tra tions t he Text and 56 ll tr t o T xt . C - - s . net a un i t n 8 c h 65 . net : a un i 8 m. c , (i : . m Crow yo. lot . h lf bo d . w th loth h lf bo d w h g

i tO 93 . net . 95 . net . g lt p . ‘ LON GM A NS A N D 6035 S TA N D ARD A N D GE N E RA L wok /rs .

— S po rt a nd Pas tim e c o ntinued.

— co n inue THE B A DM INTON LIB RA RY t d .

i ed b Ht s R E THE G T K OF A R K d t . G . E y G AC (EI H H) DU E B E U FO T . . A 8 ” ( r . A . s I . T W TSON

B His a ce th e . H UNTI NG . y G r S H OOTI NG i D KE o r E FORT and ( E ghth) U B AU . V o l. . E D A N D OVE RT v R RI i n i uti ns I I L C . B M o wB RA M O s . W th Co tr b o by F y ‘ N t he E O F E -O LE A N D B E RRE HI RE O WA LE I G HA AI and S I R R LP H ARL SU I . L RD A P VN - WE V A E G A LL B a . i Con tribu Rev . . . L. D AVI es G . . LO N ON A N , E W . H . rt W th i 8 Pla tes a nd 5 4 I us a i ns in i ns the Hon G E D LAs C ELLEs and etc . W th ll tr t o t o by RAL - . . T T O T E Y . i I I Plates the e . n 8v o c 63 . net a k L T xt Crow . loth . b l A J S UAR W R W th a nd 95 I u s a i ns in t he . n u n i i 95 . net . es bo d . w th g lt top. ll tr t o T t Crow - 8V O c lot h Gs . net a wi . . . un th gilt MOTO RS AND MOTO R- D RIV h lf bo d . 9s . net . top . - I N G . ALP R E D . I IA RAIs wom n t he By C . Vo l . O R E D E C HAEE ELOU P LA U EA r t he . I I O A N D R S . B MARQ UI . M MA H y C - ‘ M E O WA LEI N O II AN o H O N I R . . H H n . O N S Oﬂ M AG U and Sir R P J . J L RD AL - P AVN W v C R E DV t he Hon . S . R u x S ir D E G A LL E V a . i Co ntribu . C . o . AVID . B rt W th n i ns V ' H A O MO NS B a rt etc . i It! a es a d O LO A r and O EE S L , . W th Pl t t o by L RD L RD C ARL

w LE N N ON KE . ISS I us a i ns in t he e . n t o i 8 Pla tes ll tr t o T xt Crow . RR W th and 57 ' o I c 98 . net h all bo und ILL net . us a i ns in t he e . n 8yo loth . : . ll tr t o t xt Crow . o c . net : half bo ond i i A Clo t h B ox fo r u se wh en M ot r loth . w th g lt top .

95 . net . in 23 . n . g. et

A . B R . . MOUNT I N EE I NG y C T KA RLIN S TI NG . C U G T B G i i i s h O O D E NT . W th on tr but on by t he Rig t C ‘ ’ G G . . M . H BATH B N A I By J OO I . . G. Hon . B RV E M . P S i A T N WA V . C . r CO N N C . . . J M R ’ I ‘ T E B B UT I . M Aw L W . L It N A N . Rev . D . . F RES HP I E LD . E TTH E S etc . . . T W C MA W . ' O H N KE O RN ON D J . R E . H EN RV . “ it h IS Pla tes and 9 l Ill us tra tions in t he RR HA A etc . i l2 PIates Rnd 7 w - B CK . W th 2 2 us t rn e . C rown Sv o c (is . net u l un U T xt . loth . . h l bo d . i ns in t he e 8 . n VO clo th c . net t o T xt row . . 8$ i i 95 . net . C w th g lt top. - i a un 93. net . h lf bo d . w th gi lt top . POET RY OF SPO RT rH E) . D W Selec ted by H E LE V PE E R . it li Cha pter SW I MM I NG . B y Anem u t u S m o n Cla ss ica l Allus ions to S port by ANDREW a n C d N H B N RV Hon . Secs LA N G a nd a S is l ea ce t he BA D LAI R WI LLIA . of . Pr f to ’ t he i e-S a n i W L S c e . i IS P lat es nnd O LI B RY . TS N . f v g o ty th T . O MIN N by A E T. WA i I i n In I 2 I us a s the e . . 8VO c With 32 Pla tes a nd 74 I ll us tra tions in t he ll tr t o T xt Cr . loth . - 66 . net a u n i i - : . t . 9s . net . e . n h lf bo d w th g lt op 8 v o cl 6

i il 93 . net . w th g t top. A RACING AN D S T E E P LE ~ C HAS ~ T E N N I S . L W N T E N N I S , R KE T AN D E . he EA L O F S U D B J . M . M C I NG . By t R PPO LK AN AC S FIV S y ‘ ‘ - 0. H EATHCO I E . O . P LRs E . n LL O U E R E . B E N NE HI RE . G . E N o n the H . . E B . W CRAV . F V I a d . . W T H V E N r RV nd n N G E R . it n i u i ns E Y a . . CO . A A W h o tr b t o by LA L . AR R . A E C I C U T ' he Hon . . LVr r Lm N o t E . M A RE HA L TSO N i h Fro ntis iw e a nd ﬁ us A . W . L . WA . W t p Ill C M is s L . DO D . etc. i ll a es a nd 66 e . P t rntio ns in the s n 8v o c (is. W th l t T t Crow . loth . - I u s a i ns I n t he e . n Bv o c net : a l u n it i 9s . net. ll tr t o xt row . loth . h l bo d . w h g lt top . T C - (is . net u w il . a n it h t to 9.s . net . h lf bo d . g p . B t in R I DI NG AND POLO . y C a p a

R a m WE R . M ORA v B ROWN T P . o I . J . ' G A . D A E T HE LA rE D N E o r E PO T T H E Y C HT IN L . U B AU R . EA o r S U PPO LII AN D B ERNs HI II E etc L . . Vo l R . R U . S G O S T R U T O O F I C I IN , C N C I N i 8 a n l I us a i i l P a es d l ns n t he ' W th l t ll tr t o VAC H rs Y H T NG RULE O RIm NG-O UT . A RA . . ‘ C CI es . n 8 Vo c 65 . net ha ll bo und T t Crow . loth . ; . et c . S ir E W R N a t By D A D SULLIVA . B r . i i 95 . net . w th g lt top . T H E E O F P E III B Ro ItE . O D B RAss E V ARL L R , - R G . R . p . P . RO E a nd . 8 . 8 8 1 H S M ITB C L B . OWIN By W C . . . G . . ' WArsO N R . P Rr . H N H rC m . K G T . M . P In t AN . vVith a e s o n S ee i E C Ch pt r t r ng . T F I . b S LD etc. i 2l a es and 93 I us i ns C . E ROCO M NI F . . 8 a y . P C 8 00 : Metro W th Pl t ll tr t o in the e . n ita n Ro w in b S8 . LE B LA N c M IT H Syn c 63 . net pol y S ; T xt Crow . loth , . a t - un i i and on T ggG . . E i t to 93 . net . . h . PU N by P W SQ UIR W t h l bo d w h g lt p .

7 5 I u st a i ns . n 8VO clo t h 8ss. net ll r t o Crow . . : Vo l . . T U B S G I I YA CL , YA T l- i i CH CH IN u un to 93 . net . h l bo d . w th g lt p . I N A N E RIC A A N D t o rt c m m it H o s . YAC T S E A . B O KE R H B N G etc . R H H FIS ING C . . . T ETT T E y J HN I RACI By T PRI C . KE - D S ir . . GO E OO TH F m s o r D P B N . L E U P RI AN D AVA K. P . Y H W R B . A R D MAR D . . -‘ . “ lt -N O T H and N O H E A . . E . it T RL O P OR m J A N EE M c I ER RA N C R W S I R W h m . 22 u - a e a es and l7s mt ra i in “N h F ll p g Pl t mi t ons et c . t 36 Pla tes and I60 I ll us tra tions '

the e . n Bv o n i . c . 63 . et : a l n the e t . n 8 v o cl 93 . net ; T xt Crow loth h l — T x Crow . oth . un i il 93 . net a t un i i 93 . net . bo d. w th g t top . h l bo d . w th g lt top . Ed itt d b . 8 0 T; W y A ATS ON .

o wn 8v o ice 5 3 . ea ch o um e cl Cr . pr V l , ot h .

P e7 t ric 3 . 6d . u t rack.

T E a t u l ’ H PA RTRI DG E . N ra Hia S NIP B AN D WOO D C C

wr . t he Rev . . A. M m a m n u y by H ; S a w . W i t h - ‘ S in A . J S w A m Wo hoot g. by . m u rv : b ( M o Su m mo Wi W. x m n th

Crown M 85 .

HE e E DE ER Na tu r a l H T (m o us . Na t u al isto R D r H ry , 9” RN H A v n s u o u the Ra w. 11. A. M ac p mzns o u S in by z hoot g. u " " Wby m oc u m - z A J . 8 ? Wo . 1mm m m C k r S L : oo e y . by , g“c un lg" m aco m Su a r s u w “ ith l M b m “ ? u . ls I l ust ra t io ns y o t Au num os a m a a: B a u m . v and s i u i l er s D a r m . n Bv o 5 3. o g a s Crow . I C M 5 3 .

. N a t u al i o TH E PH EASANT r H st ry, THE S A LMON . t he Rev . H . A . M Ac m unso N : S i n by hoot g . G A - T B O ltﬁ n HAR DY . . J . S w a a o m w v : C k b A oo ery . by “ w 9 6 Sa lmoa FM " ALXA N D Q R ungs S H A N D i lll l . W th no us t m t io m and a i us D v r o iagram s . Crown M . 63 . M 5 3 .

T HE . Na t u a l is to r b H A R E r H y, y T

t he Rev . . A. M Ac r u a Rs o s S i n H : hoot g. by - the . 0m m LAocs LLs s Co m s 1 Hoo : lo . HA LES R ICH AR DOO N un n g3 C R : H ti g. by

Om in u s a nd 0 . . L s e-n u k r o H o : Coo e y . by KE N N B V H arm n . i Col . a W th 9 Ill us t ra

t ns . n Bs o 53 . io Crow . P

B J M TH E RA BB IT . y AMES E D U N D - Hu n m a . e Au nu x o ea ls u x s Cook ry , by

S u m . i 10 I us a ti n n S u m . it o W th ll tr o s. Crow o W h

5 5 . 8 v o. 5 3 .

V T C C B LACKB U RNE . . AL ERS ONE AND AL O K. MR ‘ S U R RB Y C R IC Kﬁ T zits l-l ist o a nd As so B U RN E S GA slBS AT C H B SS

c ia t m s . i e t he Ri o n Lo a n Ann a e nad Am H zm . Ed t d by ght . ot t d V b ' ' N B n n i a l v alotﬁzX A L E R l O e . a d c . W e and . Presid t . w th B og

A ucoc x S c r of t he S u e un B M: s . . e etary. rr y Co ty tory of Ches . by P

i ke u . i 48 I us i n v H M. i P ort rah oe . r c a s . s a G A A C t Cl b W th ll tr t o , R W th

5 3 . not . Rv o. 7 3 . 6d . not .

B ICKE RDY KE — DAYS OF MY u s e o n WA E R F RE S AND SA L I S — ] T . H T : ELL CH ESS SPA R '

a nd e Pa . a n B n us u x an of d oth r pers By Jo c ov n. S hort d B r ht G ames heu i -e c in F n i i n f W th Photo t h g ro t sp m a d 8 Fu ll and Am nge hy J . H . a e llu I s t at . W 48 4 n n e 33 8d . 6 . p g r io s Crow . . .

RIVE R OF WAY t h e N and Reﬂec i ns an t o '

Tm nasﬁ rm m no . Wl P o h Otogra P l m and l p tm um . 8 0 93. ne . p v . t

WH I S T : WITH TH E LAWS A N D THOM PSO , C AN A A N— N N DON ERA ILﬁ C O M BI N E D HAND AN D F G RE S KA H I U TI N G . By I — F L Y cu r r s G T . uo n u P . La o R O N A L D S . T H E rso . R A Ca x m iac m" Dos emu u z M em s V o . ber of S ka in t . g Club l i mo.

Ids.

' - S O M E R V I L L E . SLI PPE R S K ET A C BG ~ O F B . (B . A B C FOX H U NTI NG . y E Ac o o u n t o f the ‘ S O R RRVI LLB Aut h o r ol S o me in . N ew Z ea land ‘ e ienc es o f a n I is etc. i us a i . . P . Wo m a Exp r r h W th A tr l a By P n. WW

I us ra i ns in u t he u r . 4 Illtat t ra tto ns fro rn t a s ll t t o Colo r by A tho to. Pho ogr p h . Crows

a s 105 . 6d . net . 5 5 . net . bo rd .

LO I C RHE TORI P S Y HOLO Y G . C, C G . — B B TT THE S 05 B C F RAN C ts ont i n e A O ELE M E NT A ON ( H u d .

OG KH Annot 1 3 L IC . By T. 2mm 8 . : w it h N o tes THE ESSAYS .

. ne a nd . . G l a m o C H . Cr . ARI STOTLE 2al

S : eek ex t lu s TH E ETH IC G r T , I l a a i n tr t d w th Ess ay a d Notes . By S ir THE ESSAYS : w it h I n tr o d u cti

Am u nna 0m a . 3 v ol . 8m . B rt s .

and N a ta . in AN I NTRODUCTI ON TO ARI S ' - E B s I . V O . l T TLE S TH ICS ook . ( Book ' -i x i X c . i. . n a n n v i . i . Appe d x) V it h a m tinuo us n a s is a nd a A ly Not . M IN (ALM WD E RL the Rev . . M OO RE DD . Cmo w n E .

103 . 611.

S CI E NCE

B C R C I S a nd ics . A ON (F AN ) . Eth

W d i COM PLETE ORKS . E ted b y

R . L . u n J a n m o o m o a nd D s na S D . B . .

E AT H. 7 s . Sv o £3 13 5 . 6d . H vol .

in AN D . c ud in a t H RY O F H I L ETTE RS LI FE l g P r I I . T EO ET C S A t

all his cca s i na r s . i e o o l Wo k Ed t d by 8 11"c S yn g a g. rown ag o C .

J a mes S p s o o m o . 7 ls . Syo £4 vo .

TH E i n no t t : w th A a ti o n s . . a . D s o uc n o w ESSAYS LOG IC P r I . C B ' R IC HA D a r r en D . O. 8 v o 8v o i s . a II . m u y R . . o c n o u . W P rt Cr . 3 .

103 . 8d . os . 6d . S 03 TA N DA R D A N D GE N E R A L W LON GM A N A N D 0 5 S OR KS . 17 — M en a l M o a l a nd P o lit ica l P ilos o co n inue . t . r h p hy t d

AL B XA N D B R —c n i n e ' H G S HA D WORT H H BA I N ( ) o t u d . OD SON ( ”) TH E E E A TH E IN S NS S N D T g p a M h ’ e m y T E LLECT . m lSs . . fi g fifi TH E EMOTIONS AN D TH E T H E OF W L. 8VO IS5 . I L . TH EO RY PRACTIC E

S . r 8 v o 2s . C . PRACTICA L ES AYS , DISSE RTATIONS ON LEADI NG TH E PH I LOSOPHY OF RB ’ " P LB C N O N . 2 s» Gv o . 2 P H l LO S O P H ICA L S . m TOPIC . vol

. ed t 73 ne . TH E NIETAP ‘HYS IC OF E) ; M “m ? " BALDWIN — A OLLEG E MAN C O Ex en ee B oo k . s i i eS C I en LC m . I I Po t v U AL OF R H ETOR I l Q Q B Y a m- 3 S u ns I na is ns c i us c i n C B oo k I I . A lys of Co o A t o ; A LD WIN A -M Ph . D . . n M 4 3 » 8d . B row » B OORIV . TheRea U ni e se. 4 s . 8v o C l v r vol . B R THE OOKS f ELE M ENTS OF I D : ein a n am ina i n in th M N b g Ex t o to e ﬁ U M E — THE p ﬂ lLOSOP H lC AL N a t ure of t he Fi rs t D ivision of the E b . WR KS O F D AV D M E . i e men a i O I H U Ed t d b S u st ances L e. J I t ry b of f By H . A N VN . ng gea nd . . O E . Is . 8 B RS W) 6d T. H e a T H GR S t ROO . S , I® . . net .

m . . 2 v or “ i d B aa ols ‘ l‘s m y . ” .

Trea tme uman a u e 2 v ols . Ms of N t r . . B R o U H — OF H G . TH E STU DY M E NTAL S C I E NCE : Ri v e Lect ures on

LL D . t he ses nd r W M . U a Cha acterist ia L ic a nd 5 I I of og ( AM , ,

J . s c . . B Ro uo n LL D . r n P y hology By . C ow W V a nd m 25 8 , . net . TH E I LL TO B E LI E E , l i i m . “ E ssa n Popula r Ph los ophy .

n 8 v o 5 . row , C ROZ I ER (J OH N B EATT I E) C CI VI LISATION AN D PRO ~ TH E VA R I ETI ES OF R E LI G RES S : ei n t he 011t oi NW C IOU S E X E RI E NCE : a S tudy in b g a P ' n iﬂord 8 to m itica Rei i us a nd S cia Hom an a u e. ei G Lec u es of Pol l . l g o o l N t r B g the t r ° l Re i i n ei e e E in u Ios o h . 8yo Ids on a u a P p y , . N t r l g o d l v r d at d b rgh - in IBM 1902. 8 v o 123 . net . H ISTO RY OF I NTELL ECTUA L . K P S Y D E VE LO PM E NT : on the Lines of TA L S TO TEACH ERS ON u i n A N O S D E S M de n . C HO LOG Y D o r Evol t o . T TU NT ON ’ n V S OM E O F LI ES S I D E ALS . Crow o l. . 8 v o 14 5 . I , 8 v o . I s . 6d .

V a ra ti n . o . I n e l. I I ( pr p o ) “I 8 V° 103 M TI I — T HE S J U S N AN . I N TITUTES OP J S A : La in e c ieﬂ a U TI N I N t T xt . h y th t wt n uci n I T AN I trod . F E . I NTRODUCTORY : WW W gY w a I S D F E . g m a TU Y O TH ICS By P TE . T u o m s . S AN nA Rs M A . 8 10 Ills . c m w n C , . — H S I LL . U G R E E N (T OMA H ) TH E KAN T (I MMAN EL) . W RK O F Ed i - N r -r w y S . cd R o u n a O by . L. . l G RITI U E OF PRACTICA L V o ls . 1. a nd . h i o so h ica I I P p l S EA AN D O N . TH s . Bv o tis ea c h. Work . l . » T H E TH EORY OE ETH ICS . Trans V M i t h o l. . l sc n i . m en i e a es Wi nd ex a te K. A I I I l . I l d by T . W th

B lzs. M M em i . v o t he ree u m es and Mem i . Bv o . to th Vol . o r . o r

2Is. FU N DA M ENTA L PRI NCI PL ES LECTU R ES ON TH E PR I N Y F E O F TH E M E TA H S IC O THICS . C l LES O P POLITIC L OBLIG P KAB B OTT B . D . n P A A a n n . . a d by T . Crow I . i eac e E R N A D l T ON W th Pr f by B R gv o g . B a N o s Q U B T . SW) . 5 3 .

I NTRODUCTI ON TO LOG IC , C O HI — T H OP RN LL . E MORA LS AN D H I S ES S A Y O N TH E M IS

S D E . the Rev . J . G U RN HI LL 8 A AKEN S I Y OF TH E F R UICI By , . T UBT LT OU

V l I . n llv o o . 5 5 . net . l . K. A . Vol. Il . n FIG R E S . ans ate m w . . Crow . Crow U Tr d by T

Sy 5 5 . o . . not M O. 63 . LU N U J I A J VJ M U LU . ) O I A N U A KI I d a m ( p a w n / u ! u n n o . — o i i a P o o h co nt i n u ed . Menta l, M ora l and P l t c l h il s p y

- K E L L Y GOV ERN MENT OR S w m ) . 8 A S YS TE M O F LOG I C . Cr . m

LI R Y . C r . 8 v o I s T . O B 411. N E . K I L L I C K— H AN D BOOK TO CON S I D E RATI O N S O N R EP RE ‘ ‘ ’ ev S E NTA I I VE VE R M E N . Cro w bllL L S S YS TE M OP LOG I C. By R . GO N T - A. lI . R1m m M . A . C ro w n ﬂv o . 80. 64 .

EXA M A O F S I R W'IL p ‘ I N TI ON fikfifigfifi f mfimgfld HAVI I LTON ‘ S P H I LOS OPHY M 165 . of E hta . a 2l‘ . A RE TH E B L éM B n S O p H Y S I O N TU . U T I L ITY O F R I I AND E L G ON TH E I S M . Thu LOG I AL S Y HOLOG Y . C P C 8 m m 5 , VB mom - AN

m i 8 . M o na

Sv o . Iﬁs. O U T L I N E S O F P H Y S I O

G A S Y Y. 8 v o 121. LO IC L P CHOLOG . M R S r P RI P . C E OF YCH O LOGY . “M M “ P IE RCE — STU D IE S m A U DI L E CKY (Wu n m E o wm o H A RT TO RY AN D VI S UA L S P A C E PE RCE1 : Essa s on Ea er nnz n ta l P s cho lo POLE ) . TION y y g ’ g” M ”Y ‘L m m m am a‘ M - m T E OP d u et D — TH E M I zr C ro w n Sv o RI C M ON . D OF m . ro Ch H N . “ B EN HIS RICH M O N D 8 S H l S T O R Y E R P EA y . Cr. OF U O N £5 ;d M ORA LS F RO M A UGU STU S To L R M A E S — M IN D A N D M H A R E M AG E . 2 0010. ro n 8 00 C N C w , O N

AN D M S M . 0 3 0 m l; J on 103 . net . TION ON I

m Wn Sv o 43 . Ro m ani a. C , A S R V E Y E S U OF NGLI H A M S S U LLY IJ I' c s 0010 1110 111010110 01 0 w 13 ET 3 01 1 . B f ' 8 Ol E u ro u n Mor s AN E S S A A p aI . Y ON L U G H T E R Edi e i h lntr a t ion and o es . i C a m It s DWCI t d w t c N t . by Fo rm s. t: , O p m eg t 11114 1 H I RS ‘ I’ o n 8v . A . . o 85 . 6d s . 8w ne. W Cr w . Va lue. o. t S R T H E H I TO Y OF RI S E AN D T H E H U MAN M I N D ; a Tex H E E T E SP R boo k o f s ho o . 2 v o ln. w O T O P B o 213 . I N FLU NC F I I F yc l gy . b E R U OPE ' mffifififi lf OUTLI N E S OF P S YC H O LOG Crown 8m 91. D E M RA AN D E R OC CY LI B TY . T HE E A E R S HA N D B b a d t 011 2 o l T H OO L E . 8 . v o 365 . C i r ry i i v s , S L G ‘ c m “ 8 V ° 5 OF P YCHO O Y 1 6 ~ 6 Ca bm et E d t on . 2 v o l i i s . C r . 8 v o , S D E S D . ne O D IO t . S SW TU I OF CH I L H O .

IZS . 6d . n et U S AW — T HE R . L TO L S KI . O IG I N AN D R A ' L H l D R B S WA S bean G OWTH OF PL TO S OG IC . C L N Y ’ W1th a n A n of S ele ions. o m t he A ho } S cco u t Pla to s S t la a nd o f the ct fr ut r tud ies lus t n h ono o o f his Wr i W h i ho o ith 25 Il ra t o ns . Cr o v C r l gy nngs . y m c a wx v C ld d W s s avo LUT o u w m . 8m , 215 . . A 4 11113 0 R 1 S U T H E R L N D . G 1 M AX M ULLE R (F -I A N D G ROWTH OF T H E MO R A L 11 - S T B M -3 1. S THE S CI E NC E OF TH OUGH r T INC . y u m m g a m M A 8 v o. 281$ . 8 v o . 213 . 1 WI R E P l C T TH E S IX S YS TE M S O F 1110 113 1 S N B U N U R a n em to P o - P I P LOG I . p q m 1 H LO S O y . Cmm n 8 v 0 : 7 61! ne 0 C Att pt H . t S c 1encc 0 , Reas o ning B A LF R E D J A M RE E E R E S T H E N A Wrt S w m a U H E M . . 28 W TH L CTU ON , o o dm VE DA A S . . Sv o 5 3 o n 8 2s . 6d . NT PH I LO OPHY Cr . . Cr w vm

WO K 2 0 M il / IN S 407 1) CU . S S TA N DA R U A N D G E N E R A L R

A E R Y D U N ! ASHLEY (W . M CLEOD ( H N WWW H H E N G L I S ECONOMIC IS ? A D T H O RY m P m TH T HEO RY 0 5 c E . m a E TORY N .

an . I n 1 Vol. Il l . net : o r S e l.. 5 0. Part lL. 105 . 84 . s - P M 8 U R V E Y s R AN D , H I STO IC {yjm L

E O O . o n 8M ) 93 . net . C N MIC Cr w . A R R . 8 v o INDI N CU E NC Y . TH E A D J U S T M E N T OF “ m C ﬂ m 'm M a m M afa m ﬁm ed M A L ? ILL. POLIT IC ECO s Wt W 1h . Gd net. Sta . te i h W B J OH N T T y S UAR MI LL . F o n d a n s 6d i b E B RITIS H I N DUST R I ES a Serw s m M 3 . . L e M o -I ol Oeneral Rev iewo lo e Ia en a nd

« IN D ' ‘ c M U LHAL L . U S I R I E O P O WE ALTH NATI NS . By “ 1C - A M on u m, P . S . S . 3 2 D i B G E H O T . E C O N O M I C With Cro wn M BS . Gd . D E . ST U I ES . By WALT E R BAG HO T Cro wn

SW) Cd . . — PO LITI 5 Y M E S . C A L 1 — R A A O MY : a S ho Tu t- u c k i i : BARN E T T . P C T I C B L E rt b of Pol t c o WS M m L . A o n i y. B S. . . . 8“ SO CIALISM : Essays So c a l Reform . By S I Cr

M E nd E ETT ETT . By SA L A . a H N R A BARN U I — Crown Sv m ﬂs. T O Y N B E E L ECT U RE TH B I N D U ST R IA L RE VO LU T I — A A A OP TH‘ E ST E T R D EVAS . M N U L OF POLI I H C N U Y I N E M

T E O O Y . C . . D ev a n . ICAL C N M By S . M A

o n Bv o 7 s . 6d . Ston l mrst Phi hical r w , ( y losop gn u s

— A A R D EWEY. FI N NCI L H I STO Y OP H E U N IT E D S TAT E S B D H " T y WE B B LD EY a nd BE A n 8 y ed T R I C ] . o (S R H D E EY o 73 . . net . N IC W Cr w , T ‘ m m 0 ? T I — E H LE SLI E ESSAYS ON POL I ffm o m gﬁ 1- AL CO A Y h s y gm p y. m ﬂ s. E S E Eé b IIE' 8V" 1 d { E N‘ 6 LI . I N DU ST R I AL D E M OCR A

T nioni m . 2 v AC E RY U G . rade U s ol M LEOD (H N D NNIN ) find“ 8 o Sa net . B I M ETA LLISM . v P RO B LEMS OF M O D E R T HE O F A K . mom ma ELEM ENTS B N I NG m . C W "“ t “ f T H E H I STO RY O E L I THE TH EO RY AN D P RACTICE LIC E NSIN G I N E NG LA N D

O F BA KI G . . I . 8v o 125 . P RO 1 1 T N N . 9 1) O 183 0 Vol , Vol ALLY F M .

I I . 14 3 . 8 v o , 25 . 661. no t .

v o h E l utio n . An t rop o l ogy, et c .

D A NNA N DA L E A N D ROBIN CLOD D (E D WAR ) . M n ' S ON . FASCICU LI A LAY E N S ES I A TH E STO RY OF C R EA ] t h ro o logic al and Z o o logtc a l R a n p esults of p Acco unt i E v a t ti o n E x ed ItIon t o P era lt a nd S Ia mese p the Malay THURS oat a Sm gi s f . 6d Cr . S a s 19012. k E S O N t te . Underta en by N L N N N a nd H R H - A R R O P EVO I U E HRT . R a m S N T A A DALE C o O . P IM E P la t a nd In T x ein s o a i es . E i With Illustrations the e t . b g P pul r Abridged d t o n ‘ ' RO PO OG Y P 4 m 15 5 . n S o eat io n . WIt h T et . 111 AN H L . art . l t ry of Cr m m

Z OOLOG Y l. 4 m 808 . Pe . Sy o . Part . . net Part p , "e" DOU B TS A BOU T D A R - A R . R O F U IS M . B a S B ml D A RWI N I A H Y TH . V EB E O IG I N y Cr. avo C 1V1L18 AT ION a nd t he m . Pr t e C‘ ‘ — dition of M an . By the RIgh I ééri LOROKELLE R QU E RI ES I N E T

AVE D U RV. Wit 6 P a nd 20 111ua tra h lates G RAPHY . B yALm I RT G A LLW AV K

8v o 185 . t Io ns . P h . D . P v , ep . s c , 25 . net “ W LON GM AN S AN D CO N S S TAN D A RD AN D GE N ERA L ORKS .

o — contin ued Ev o lut ion . A nt h r pology. et a .

L A N C AN D A N R A EO RG E O - ont T KINSO OM N ES (G J HN) c .

O O R G . B A w Lu na A ’ . S CI L I I NS AR AN D ‘ R .I . T D AR PR I MAL LA W. By . D WI N F E N N : a n E x i of D , T S O Sy o 103 , 6d . net . J A KI . ' WIN posit on the arwinian m — AR K T HE P A A R . A M ﬁ uﬁn w C K D L M C , b PO U N D B R O F E VO LUT I O N : his Life a . TH E R Y EO R . wo rk Wm, Tm m im w f M, Writi P rt I DA W N AN TH and ‘ I I Wi P o r i A LR HB U S t t ra it o f D arw in a nd 125 111us t ra o n Orga n c E v olution . By h Wit 10 i . M D LL. D . PACKARD . . . . h Portrait t ons d l i o n 8m t her I us at ons . La ge Cr w . l tr r - p a t . OS T R I U E S gyngt r I I P DA W NIAN Q

T O S . I N Heredity and Utility . With P o r of A ho a nd 5 t s ROMA N ES (G EO RG E J O HN) . trait the ut r Illus ration . W"8V 5 ~ C 'O °v 10 6d o d i ed . O D ESS AYS . E t C LL Y

0 R0 ° C m “ “V“ M A . 111 T - N Pa rt . POS DAR WINIAN D E S A N EXAM IN ATION OP WEIS n o u s ; Isolation a nd P hys i ogica l

n t i n . Cro w n Sc. M AN N IS M . Cro w Selec o M

Th e S cien ce of Religion . et c.

B A L F O U R — T HB ROU ND A M A X M U L L E R (T h e Righ t E : ei n N otes Ho m E T I O NS O P B E LI F b g Intro ) . d uc t ory to the S tudy of Theology . By the

T J A N E: L FO . Right Hon . AR H U R BA UR HORS B H E RD o n Sv o 65 . net . A Cr w , TH E SI LESI N ' D AS P F E R D B B URLA I : Questions o f r a m mam a . - U L — ORIG IN w b I . BA RING GO D . TH E the Hour ans ered Wi a p m b aw n v a m m AN D D E VE LO PM E N T O F R E LI G I O U S th y J o n 8 v o s - w . 5 . A N w . Cr Rev . S . B aI o Gou B E LI E F . By the 8 d ls . o n v o 5 . 6 . ac . 2 v o Cr w . 3 e h R A R A — C H I PS F OM GE M N C A M P E L L R E IGI N I N WOR K O E O . I v B L SH P Vol . ssays on K R B Rev . G RE E T E R T E . LI A U the M ? .h0 ,03 ) and F"m0 " Crown 8 t o

E E M .A. L. D . a m L WIS CAM PB LL . . , 5 3

1ss .

AM E _T H E AR TH E S IX SYSTEMS OF I N DI A N J S , V I ET I ES OF av e . net. P O O P . o n . n od R E LI G I O US B x P E RI E NC E : a Study In H IL S HY Cr w a n i fo c Human Nature . B g the G f rd Le tures ( 32 CONT RIB UT 'ON S To TH E

O v . 3 m E E F T O OG . 2 et c . 8 v 0 12 . , . SCI NC MY H L Y ols 8 v 0 . 823 . w LA NG (A N D R E ) . '

A N D R . Sv o I H E R A R M AGIC ELIGION . O IGI N N D G OWT H

106 . 6d . O P R E G O I lu b t he LI I N . as l strated y ' R n of n . The Hibhm t eligio s I dia Lectures, d eli v emd t he C a r Ws CUSTOM A N D T H ’ at h pte House . e t m ins ter Ah he in 187 8 . o n 8m 5 s. BgL Wi fgﬁﬁ: y. Cr w .

I NT RODUCT ION TO T HE R E ~ R A . AN D E E O F R E G O : o M Y T H . ITU L SCI NC LI I N F ur Lec

n W) 8 . R n t i . LIG ION . Z YOIS . o S 7 v Cr w . tures deli ered at the oyal I s itut on

o n M o 5 5 . Cr w . MODER N MYTH OLOGY : a Rep ly ’

r M ax M iI ller . SW) at . to P roleu o . Th e N ATU RAL RELIG ION . ‘ O‘RoI-d Loot ° den red bet“ the n T HE M AKI NG O F RELIG ION . University a 3§m w ¥ Im ( aw

ﬁ v e 5 3 . v 5 5 . net . . Cro w n S o. LIG IO N . The Gi ﬂo rd c deh v ered Le tures. iv i before the U n era t y of Glasgow in l69 l.

w v o 3 5 . Cro n B . OR TH EOSOPH Y . PSYC H O RA T R G O The G sno ra T H E E LD LOG ICAL ELI I N . CES OF Lect urea r M r the U niv ernit . delive ed o e y

w m . ow 8 v o 5 3 . of Gla sgo in I Cr n . TH R T R T H E EE EC U ES ON 2 9 013 , M m g L ( M OM . . . m VE D T O O \ cred AN A PH I L S PHY . deli

R Ma rc h IIQ“. at the oyal Institution in . 9 m "M a" PAGAN I RELA N D a n A rch “ 8 8 8 4 . eco nd en e LAST S S S s Skew!» A Hm d ho o k d Irish '

t o S c ien eo t ei io n w ia n . Wt l ll Ben n the c R l g . Cro n rist Antiq uities i h s 2 l u

8 w g . v o l . y. tions B .

Clas s ica l Litera t u re.

— ’ ICA . A Co l I E R 0 . R S C OR A BBOT T . H ELLEN C C C IC E O - Of E o n G k t S PO N lHZNCB . R . . Tm lection ssays ree Poe ry . Philo By Y ' R . E b I l l. I ll 8vo eac 123 . V o l. I V sophy . History . and eligion dited y .. , " , h “

n ltv 5 Vo l. VL lb . Vo i T M L. D . o “ . . E YN B B O T A L Cm ". l E V L A . . Vol. . V

73. 6d .

H — V A R D S T D E S C Y LU S . EU M EN I DES OF H A R U I E S W’ IE HY L S . E P S C U ith Metrical nglish C LA S S I CA L H ILOLOG Y . E d ited i . D V S. li v e 5 m i ee 0 ! t he Class ca l I n s T . F . E 7 . o m t r uc u u ranslation By J A I . C tt

a a Uni e sit . s . XL H rv rd v r y Vol . 1901; XML l902 : XIV" 1903 . 8 “ W R P A N — . A I S T O H E S . T H E -I ARIJ IAN S O F J R I Sm P H A E ACI . ‘ trans lntCS I ah x S into E n erse . B y g‘ H ‘ w 5 0 Is IM E TY E . n . RR LL Cro . . . Sa ti n “ (late) R ' W a n la ed b BECKE R ( . Tr s t y v — the Re . . ET F E B . D . L . R D S F M CA HOM E . TH E O YS E Y

O E R. D En lish H M one into g Verse. 0 t w A : o r Ro m a n cene I n M un . G LLU S , S s WI LLIA Mo s Cro n W' N t the Tim e of Augustus . ith a a and _ x Wi 26 . E cu rB uEes . n ll . E T HE R th I ustratio s Cr HORAC , WO KS M M 33 . O R E RE D E RE D TO H AC . N I N E N G L RO E W c io P S . ith Life. Introdu t n a nd N CHA RIC LE S : o r llu a io n O f Wt LLI A III CWT C o n aw , I str t s By r w i the Private Life of the Anc ent G reeks . x With Notes and E cursuses. With m 8v o 35 6d — I ustrations . Crown , . . N R AN 1) T H ll LA G . HOM E E B

N EW AN G . n Br o 3 By A DR L Crow , 9 . net — R C A M P B E L L . E IG ION IN L — v A . R A L A T R Re . l G R E E K LITE AT U RE . By the LUCI N T N S 0

LE w Is M P B E . . LL. D . E m FRO . A U O U RT A CA LL. M A , , eritus M LUCIAN By M . c

of k A V I D N . . Ed tn . o G S t . B E D BO Profess r ree . University of LL . M A . C rown

w . 8 v o I& . 5 3 . . Andre s , net

h — co nti nu e Poetry a nd t e Dra m a d .

- N R — KE NDAL L POE M S OF H E Y M ORRIS (q A M ) . comi nw d TH E ODYS S EY O F“

DRE W LAN G (AN ) .

S Pe . G RAS S O P PARN AS S U . p TH E E NE ID S o p v m 5 4 M 2 . 6 . net . o n lish - D neint o E g Ver ne. ( 2v

TH E BLU E POET RY BOOK . TH E TA LE OE B E OW S O M ET I NI E KI N G O F T H E FO L ! WE DE RG E ATS — 8 WI I M . Tra u m a E M S . LL T E L CKY. POE A H Wi u ' u n t M om and . WVA rr a A J . H p w Lenny . e . Sm 5 . EDWARD m o p . 8v o , 5 5 . net .

‘ - TTON The a rl of E er a in f beP o E l i m LY ( E ) . (OW N C t o t Wom m y a M M in t be lo ﬂowiug Ed i tio ns z S WAN R R . o w n v o TH E DE E C r . TH E EARTH LY PA RA D IS E l05 . 8d . ' P ula E it ion . 5 v o r d ls . I n S o d . . o w v lls . 6 LU C I LE Cr . I m a m od d s s z h em ed y.

S M S . ow n Bv o The S ame in Ten a t s ELECTED POE C r , P r . u u m m m my.

v o l A S I . C M A C A U L A Y . L Y O F I RO M w rm ‘ I R ‘ AN D ANC ENT E . V Y ' ‘ A . ACA U LAV THB AB A‘AD By LOR D M . p o B M S BY TH E WAY S q RF . 4 I llust ra ted b . SC Pe . to . ti o s HA p Crow n v a , yG .

Ills. 6d . TH E DE FE NC E O P G U V R AN D O R P O E !“ E E THE 8 . Cl

Im rensio n . Pe . M It . p p . 6d . net . Bd it ioﬂ FC “0 3“ ' P illiam M For M r. W orris s ot her l u s t a te b J . 8 d w e 27 37 an 40. I l r d y on . 2 .

o n Bv o (is . net . Cr w .

E T VI R . Sv s . RS IA r o l M . c . O TO C An no t a ted d iti o n . F E p . C

5 3 . net . se s Gil. c . wed . l . loth

O N A — A M A C D L D . BOOK OF S RI E I N T H E O R M O D R T P . F F TH E IA Y LD S O L G G O F AN O U : Poems . By EOR E

D L l8 o 5 . M AC LL D . m 6 ONA D . . .

M ORRIS h 0a

ET l A l R I B R RY PO . W C O KS . L A ' E D I rlO N . m e e in I u s n Co pl t I vol me . Crow i i l ce5 5 . net ea c . vo. pr h — A R A RA S . N E S B I T A S A N TH E E TH LY P DI E . L Y D

4 v o ls . n Syn 5 5 . net ea c . G E N D S . . N ea t ” M Crow , h By E ? ( rs . 11 “ U F E AN D A O F ‘ TH E DE TH . 32s?

S O . n SW) o 5 5 . net . JA N Cr w . — P THE D EFE NC E OF GU E N E R I L E Y . OLD AS H IO

E R a nd e em s . n 8 v o . ROS S : em s . J A l E s W V E . oth r Po Crow E Po By a n

R I L V. Izm o i to 5 6. E . g lt p . T IS S TO R O F S I GU RD T H E H Y — A S O LS U G A N D T H E L L o r T H E R 0 M A N E S E LE CT V N . FA LU F RO M O MS O P G EO R v 5 5 et . G E J I S . n 8 o . n N B NG Crow , THE P E

RO M E S M . A . LL.D . F R . S AN . . . . . w M S 5 WAY AN D In n . R B POE BY TH , trod uc tio T H E ER T n

L O E IS O UG . n Sv o 5 5 . n DI M R e e Od r ! V EN H Crow . Coll g . o ae4 3 net . g t . M ’

WO KS . 2 EM A N S .uv S T E N ERA L R W o Co s A N D A RD A N D G . 5

— Poetry and t he Dram a { ontinueaﬂ

V E - R N B AL TRE V N — A GO N SA AG ARM S T O G E LYA . C EC I LI

o L O P D O B G P . S AVAG E ZA G a . . . V L . A DS WN . y . A : Drama By R C TRE E YAN

A W EO N G M A . D . Li t t. n 8m 7 s . 6d . Pe . 8m 23 . 64 . net . , . Crow . p , AKE PEA R S H S E . — ' WA G N E R T H E N I N EN BOWDL R S FA MI L S AK BELU G E Y H E R I D ne in n is e ne b N G . o to E gl h V r y S PE A RE. With 86 Woodc uts . l vol . R G I A L RA N tn N B .A . t he I nne E N D . , of r 8 v o Ms . O r in 6 s . Pe . 8m 2ls . . vol p . - em e B ar ris tera t Lo w . T pl . TH E S H A KE S P EA RE B I RT H

DAY OO . M A RY P . D U N EA R. l R ine o ld Th e a lk ie. Vo . . h B K By I G , V yr

821110 . ls . 6d . P e . 8v o i 45 . Gd . p , g lt top. S TEVE N ON — A LB ’ S G AR S . C H I T li h t o f D O R BE u i s Vo l. . S ie r ie . he w i E N F VE RS ES . B O RT Lo I I gf d T g

d. S T V . Pe . 8 v o lt 5 5 . t he G s . Fo . 8 v o i ls . 6 E ENSON p , g top . od p . g lt top .

Fic i on H u m o u r etc . t , , A N T EY R BOTTOM — L lF E N R S t L E , TH E I TE

i s B M . n R E R. Pa v LL TT E S R i n t ed P ET By O O Crow VOC E POPU LI . ( epr Sy n. 65 . from Punc h it h 20 us t ati on s Firs t S eries . W I ll r I L L - S AVRO LA : a ‘ R C H . ' n v o C H U b . B E R P A R I RJ D O E . 8 yJ RNA D Crow , B Tale of the Revol u tion in La u ranin . y i o 35 . net . g lt t p . I T S P C C u uncm u M P . . W NS ON EN ER q Cr Seco n Se ies . With 25 Illu s t a r r 8m ) 85 . d .

‘ ‘ ns P A R I RI DO E . n ti o b J . BERNARD Crow

m i to 35 . net . 8 , s t p , — ' ON VE R N W : a M AN R M B LANKLE Y S C S E LO G I LL TH E F O , Ta le of Wa t ler and t he Peasa n t Ris ing nd e S e c ” . Re i n e m a oth r k t h ( pr t d fro B L C in t e Rei n Ric a . ‘ ‘ h g h rd l l y REN E ns b F O P unc h J i Il u s a i y . W th l tr t o J V M th 6 llluet ratio ns b G RT H - i CON ERSE . y A P m m no E . n 8 m BERNARD A Crow , g lt J es s a . n Sv o 63 . Crow , 35 . net . top .

BAI LEY (a . M Y LADY OF O RAN G E : 3 Rom a nce of t he Netherla nds in t he Da ys

8 I us a i ns . n of Alv a . With ll tr t o Crow

8 m . 63 . KA RL OF E RB AC H : a Ta le o f ’ War n 8 v o 63 . t he hirty Yea rs row . — T C O A RS A LL. B D U GA LL . BEGG y S R RA a a e M A n 8m 3 3 . 6d . LL. L. D U GA TH E TE OF G Y T l O Crow . of t he D ays of M a ry Queen of S c ots .

n 8v o 63 . Crow .

O . f O E (S ir A . C N N) B EACON S FI E LD (T he Ea rl o ) . D YL A Co m NOVE LS A N D TA LE S . M I CA H C LA RKE : a Ta le o f Mo o ’ l t in s n 8 v o ls . 8 d. ea c . i h ll) I lus a i ns . p e e l l vol Crow , h mou th s Rebell i on . W t l tr t o

d net . in se s i . IS . t o 33 or t . l l g lt top Cr mwt w . .

a n u i ni em in Vivia n G u y. C t r Fl g The You n D u ke The Ris e of Is la m T R FUG S : a Ta le o f t h e Co un t m os : a ti e . H E E EE a i n s . . ll u ueno s . i 25 I us Tr “ed y 8 ygr . H g t W th ll tr t o Cr - I i n in Hen riett n em e. SW) 35 . 641. Alt og: x o T pl . H ea ven : The I n fernnl M arriage Conings by . RS . n la Lo t h m r . A R M N R P o m il . TH E S T K U O LETTE

n mio n . a nc e . n 8m 38 . (id . T r d E dy Crow . S N OVELS AN D TA LE . TH E U D I IO it 2 G H E N D E N E T N . W h H CA A I N net s . T PT OF T POL P o rt rai s a nd l l V ig tes . l l vol H E H E E 8 TAR and other Tales . Sv o 425 . , Crown . —TH E — D U NEAR RA GGARD (H . Rl nm ) m i B LAC K H EA RT A N D D R A N D O R m H EA T . TH E m

33 lllm t u tinne. n On ) 3 3 6 Crow . . P w lat e r ARRA R . new o F ( ’ C LEO I AT RA . Wit h 29 II CAnm a

i ns . u ed t o Cm n m . A R N S S A N D AWN : or D K E D . N U A R ITC H COLO EL Q . i Pm nt in ieoe and W th p Vignette.

M O, as. M . G ATH E RI N G C LOU DS : a Ta le A 6 D WN . Wit h 1 "In s t r am -o C r m an “ .

D R. THE RN E . . Sv O E R D I It . C r o 3 3 F WL (E TH ) , N R N R TH E YOU G P ETE DE S . R R E IC B IG HTEY ES . i i e i 12 Ina-tra A S tory o Ch ild L f . W th lust a i ns . m n Sa Gd Il r t o M . - o nu s n e e . tions by S ir PH I LI P B Jo s . B rt

n h o 63 . Crow . E AR THE W R H T OF O L D . ' Is Mu ta ti ns . cm av e as . s TH E PROFE S S O R S C H I L o .

D i 3 0 us at i ns r u n . REN . W th I ll tr o by B t J AN A S . Wit h 20 11 K r E to n“ . n N O 63 . O T A Bo l Crow . H E i ne. Cro wn Ov t o t Gd .

LYS B ET H. With 26 Ill E . us t r F RA N CIS (M . )

n Ov a 83 . Crow . C H RI STI AN TH AL : a St o ry of MA IWA ’ S RE V N o i r n . M n ca] Li fe. C ow E G E G rm

ls . 8d . ' o w n F IAN D E R S WI DOW. Cr

8m . as.

t h YEO MAN FLEETWOOD . Wi °

F rontis ieoe. wn 8v o 35 . net . p . M R . M E ESO N S WI Cro L L . ‘ ‘W m : R i h 6 M M 1“ PAS TO RALS o r DO S ET . Wt

s a i ns . n 8 v o (is . 8 Ill u tr t o row . NA A T HE L W C D LI Y . it h ‘W m M M SL M R it h T H E M AN OR FA M . W ' F fO M i‘ W“ b C U U D 0- 0 ” N ew “ Y PE ARL- MAI DE N a T a le n v 0 66 . Crow . ati ! it P o Jen n ies» . W h 16 Blu e

C rown M Gs. RO D — TWO S F U E . TH E C H I E F a n I is O P D U N BOY . r h Romance of t he M 33 ° Gd s en u J A II . n . n La t C t ry . By EII A F no u n Crow S TELLA FRB G ELI U S : a Three n r n Des ti ion. C ow M 6“ AR ID E T E : bein HAGG D S , H g ‘ S WA W a Ta le of i i n f i : th e Essa i n F c t o . By t heAuth or o T mes LLO ' ‘ ‘ and a u da Fé & c . n 8m e . it 8 I us r a i n C an y A to . Crow . Tr k W h ll t t o

3 . N . 5 3 . 3 TH E PEOPLE OF T H E

HA AR . R ID E R . i I i n C GG D (H ) W th 16 ll us trat o s . m ; aw

A AN U AT B R MA IN . Wit h 3 1 LL g T H E W S H - ITC H Illus t ra t it t s . w l awm an “ . Cro n I ll us tra tion s . Crow ' ' 'it h 34 l ALLA N S WI FE . W I l u s d HA AR A N D t in ns . n Sv o 33 . 6 . t ra Crow . GG D O D ’ I W RL S D ES R E. W o A R . lth F nt ts ece BE T I C E r pt c u m a nd Ax na a w LA V n and ig ette.

STE VE N S ON IRO E E M LO t

THE ST t t ANG E C A S E 0 AN D J E KYLL M R . H Y D E I n la w l u . d oﬂ t TH E S TRAN G E C A S E OI AND JEKYLL M R. HVD E t O S TH ER FABL E . C ro wn M In b -nn it i to boo I . w h g lt p . net.

R N R RN V S ilv e Libra Ed i tio n TH EE O TH E LO E r ry .

as. M . MO RE N EW’ A RA B I A N N I M ‘E net. — D A M R THE YN ITE . By ‘ r la n o r Wt s La m a Em a nd P AN " EO e . William Mo f the .

m n S r Ev ex m . m eee . 2l 81m d lll. G o pp . C vo. AR D I N E WMA N (C NAL) . H E W N T RO G o . B y E ' Lo w s S r ev nx no x a nd L u n a L08 8 AN D AI N : t he Stzor OI a 0 : G y M n fiv e 85 . . ‘ m n flv Crow , e . as fid Con v rt m . . CA LLI STA : a Ta le o f t he Th ird S E R — LAY D O WN v TT N en u . n fi e 33 . 6d . C t ry Crow . U

P P P - O E S NAP H I LL I S W LL Y .

a Le en OI t he L ne M u n ai n . . g d o o t C T n nnla n Wi I8 P H I LLI M WO LLEV. th Illus tra

n Bw 83. 6d Crow o. .

P 0 I M " “ ' 5 T TRO O PE AN O Y T LL ( TH N ) . 3 "m 8 T U DIES I: II J " ? WAR Elma n N m w B . o c . y Crow TH E DE Cro w ,

8 5 5 . net . t yo , I 8d .

S E E E LI zA E ET H B ARC H S R T W R W LL ( E TE O E S .

M “M ‘ G im s t Am e e . A l p eof heWorld . y H rb rt n l I n eto n P ev e ll a ll.

ﬁa rga net ; erc w gert m de. VA A v ' E i H N I a i n n me e. Ka th r e As hto . Ho L f ‘ gEg é m W v n p . V T h E a s u Li e. e rl Da ghter. Arm f w“ m t The o f i . s . pe ience L e. U s u a I Ex r f r l vor S tink " $ 3?

n Bv o c a in Is . ea c . t Crow . loth pl . h Clo h i 11 e a e es . 25 . 6 . eac xtr . g lt dg h.

“ - L . B . — M l FORD I o ) D E L M EG E . S HEE HA N . LU KE t he R P S H H D O u ev A . . . . . EE N . . T ' - W A A thor S AY AT S . Cr . S W ‘ HO E n0 M w n 8v o 5 Ne u a e . 6 . y C r t Crow .

C H A RL0TTE . ( E S OM E RVI LLE (E . ) A N D RO S S M I ( ART N) . ON E 'm S O M E E XPE R I E N C E S OF A N I - ﬁt

S M . i S I I lus a b IR I H R . W th l tr tions y TH E lNTR U D E RS . ( . S O N E NVI LLE . n ﬁv e 65 . E E Crow . A LL O N R S S R MA R : . TH E I I H HO E LEDDY GET C r . av o , i O I us Iris h S ketc hes . W th I ll tra tions by l C ro w n 8v o 5 V 6 . I A AR : . I KI LD E P M WW T E R A AR “ W H . E L C H LOTTE Cr . M f“ M M R S M : a . ITH Pa rt ‘ n li v o s 6d . T HE S R FOX. o w n Sv o . 2 . I LV E Cr . Crow

8s 6d . . T H B E F RA A S N Sv o 65 N R S . . . I I H COU I Cr . CEM Q ﬁ i i — F c on H u m ou r con inue . t , . eta t d

- i d . B . cont nne Y . L (L ) WE YM A N (STAN E ) .

S o w n o 6d S N . 8 v 25 . O . W S OF . C U I C r , TH E HOU E TH E OLF n W ith Fro t is piece and Vig nette. Crow R S M A R M n T OU B LE O E D UGHTE S . n 8’v o Crow . A G E NTLE M AN OF F RA NC E . i n n W ith F ro nt is pic c e a nd V g ette. row A o n 8 v o 2 M C 5 . P U LI N . Cr w , . 8 as E m . .

N R . ow n 8 v o H E RE D Wit h D IC K ETH E BY Cr , T COC KA DE .

F ro nt i ece a nd i ne e. n 8v o sp t V g tt Crow .

TH E H I STO RY OF A WEEK .

n 8V0 28. 8d . S H REWS B RY Wit h 24 llus Crow . U . I

t r n P P . a t io s by C LA un E A . S H E ERSON m m n - aso A S TI FF - N EC KED GE NE RA T lON Cm "8“ 1” M

S A it h ﬁ o n t is iece. . OPH I . W p Cr SW) . 65 .

N AN a nd o t he St o ies . . Sv o , r r C r , A S to o f TH E LO NG N IG HT . ry

G ene a in "302. n 8m 65 . v Crow . M S M N A TH E I C H I EF OF O IC .

C ro wn 8v 0. 25 . 6tl.

THE N E S EA TS S . O GOOD GU E T . Cr . Y ( “ ’ M E . T H E C H EVA LI E R D AU RIAC W W “ lly 0 33 . Gd . ’ d ot S PLOUGH ED a n her t o ries . ( Im a m - 23 “ S w n T H E TRA ITO R WAY . Cro

M 65 . T HE MA M A R Sv o TC H KE . Cr . ,

23 . 6d .

O X A - R M M AN — Y L L . TH E O Y WARD O N E R S R . S O . B .I Yo x A I L M P . n POO C U PLE T N E y . H . . , Crow B r WI I ’ W RD w n So n 65 l M s J RI D A . 65 y . . Cro . .

Po u la r S c ienc e N a u ra l H is o p ( t t ry,

no m e FU RN EA UX H A R TWIG (G ) . R W R : o r TH E OUTDOO O LD . T 8 3 ) L N ' W' The Yo u ec s an . i Coll tor H dbook th ag!“08 513 ﬁ i Il PTa tes mSg IS a es III o f ic are c u e ), a nd Pl t wh h olo r d W 8 i 75 "I“ WW “ g lt ( 09 ° ' 5 49 ustrat i ns in the e . n Il Ill o T xt Crow vo . i s 5 net g lt edge . 6 . . ’ ‘ Wit h B U I T E RF LIE S AN D M OTH S THE T ROPI CA L WO RLD . 8 i n w u s 8v a ﬂt m i is i l u e a es a nd a no a d 172 c . . g p . ( Br t h ). W th 2 olo r d Pl t P ood t C " 24 I I us a i n s in t he e n 8m 73 ' 9 L ll tr t o T xt Crow .

e net . gilt edg nﬁ s . it h 3 L I F E I N P O N D S A N D TH E POLAR WO RLD . W Ma 8 es nd 8 5 oodc ut s 8yo S R M S . i 8 u e a es a nd s a a T EA W th Colo r d Pl t p . Pl t .

M l llluat m t io n s in t he e . n 8wo i . 7 s . net T xt Crow . g lt top

i l e es 6 . net . g t dg . 5

S E A S R Wit h 8 S RRA N AN W R . TH E HO E . TH E U BTE E O LD

I lu s i in i 3 Ma s and 80 Woodc uta . Bv o i Coloured Pla tes a nd 800 l tra t ons W th p . g lt ' '

a net . m 7 s . net . t he lett . m n M Oa p . NA U R S A N RA : T E T U D I E S H OFFMA NN . PI F O L E L I, O m Fom d C Lo o o . C

LEI SURE RE A DI N C 8 C u m m z' N P tum sv o , Pm u aﬁ k c m v a

n u . not . an d.

t Fo r Mr . W : ott er W ‘ It . H U DS O N (w . ) W M

H AM PS H I R E D AYS . With I I Pin and S I l us t a i n: the Ten l r t o — m f am u Hocil m am S TA N E . A A M I m w . L Y F

m a m . OR OP R S D . I T Y BI B E . rim Tw at o a c ow B I RDS AN D M AN . L rge r n

M 83 . net .

Rev . WOO D ( J .

RE I W N Wit h NAT U N DO N LA D . HO M E S WITHOU T I2 Pla tes a nd N I ll us tra tions in t he Text

D . M cC ORu IC II . av o is . 4 net. by A. . lt 6 .

R R S Wit h a h a ‘ B ITI S H B I D . C p her on S truc ture a nd Clas s iﬁca tion I)

N . F i K B R. 8 . h F RA . 1 BEDDARD. W t I N S ECTS AT HO M E a es 8 ic a re u e and e Pl t ( of wh h Colo r d) . ov r m I us a i n in t he e n t l s . wo ll tr t o T xt Crow . “ m ai n“ ll o I a tn tio a . M gilt tq m

— NS TS AB R A M lLLA IS TH E N ATU RA L H IS . I EC O D TORY OF TH E BRITI S H S U R FACE ' Accou nt ol P w "8 0 m mW! - e, FEE D ING D UCKS . 8 , JOH N G U I LL B :

M I Lu I I S etc . i 6 P hot o rav um . W th g and 86 Plat e. (AI in Colou rs ) from D ra wings the ut A RC HI D A LD THO R D U RN a nd by A hor . . P - m hoto lu Ro “ es . fro m p . w to m OUT OF DOO RS : a 5 O rigina l Art iclu on Pro: H istory . wi th ll Ulna r;

Rv o . 81. M . PROCTO R (RICHA RD

LIG T S C I NC FOR L I S U R E P ETLAN D H E E E I U a m i ia s o n ien i us a i n HO RS . F l r S c til o Ill tr t o

S u ec s . n 800 bj t Crow . S TRANG E DWE LLIN WA M A R S S M n t he a m OUG H Y DE OOTH . sc ri tio of m o. p ‘ Familia r E m o n S c ientiﬁc S aw I I) fro m Homeo wit

n 8 as. i Il us ati n Gm Crow vo . W th l tr o

’ s oo — t M m d Children B ks .

- D N - IN S AR M ! A N (As m w Eo n En 8 7 > E T . E CH OF HO E L G ) TH E A RAB IA N N IG H’ I’ I T TAINM N W “5 E R E TS . it h

i ona . r n M o i t 8 1. t C ow . g l

- m ) BY . HE N TY (6 A n t 8 m T H E BOOK OF RO M A N C E s ca m med Ph tu a nd u o ther lllu i n ed es 65 . Crow M g lt g .

— B U F L Y A L L . T H E

ARNS a S to YU LE rInE Y . ry o s I U m ur» for B y . By VAR O S A o n i t 45 Illus trations . Crow M g l 04 m m m — N N nnew D I E D B Y ME A E . LA G (A ) . E T D (L ’ R it h DA S . Wit h 8 I I TH E BLU E FA I Y BOOK. W DDY BOY

Isa I us ra i ns . n Ov o i t ed eu i ns . Cm n M ih as . ll t t o Crow . g l g . t o g m

a . D E B AN D TH E D U C H E S S TH E RL D A I R . wI th F Y BOOK m m C , M g m w t io ns. Crown 8v o ilt ed en 65 Iw m t ra . g g . . R S R R A R TH E BE E FO D P I Z E TH E G RB B F I Y BOOK. u re iona . M 7 lll et t CO I N G !“ it 99 Illux t raiioni . r n Ov a i W h C ow . g lt “ m “ T HE HOU S E O F S U R P i TH E G REY FAI RY BOOK . Wth

66 Illuet ra tione. n M i e es 61. Crow . g lt dg .

P - T HE N THE W A R A CKARD YO U G YE LLO F I Y BOO K ' ‘ WHALB RS : a I aIe ” “I“ m t ‘m n M I“ for Crow ' “ T HROF P AC KARO . i ls "Ina his W th

n M 65 . Crow . \ i t h TH E PI N K FA I RY BOOK . V — PE N ROS E C U BB : A 67 I us a i n s. n llv o ilt ed es a. H Y ll tr t o Crow , g g B M rs . . S ANCE. y PENROSE Wit l “7 0 0 “ M m ” TH E VIOLET FA I RY BOO K . \Vitl\ 8 Colou red P la tea a nd 5 4 other Ill us » O

t ra ti ons . n i Ilt e es 65 . Crow l vo . g dg . M P RA E GE R (ROS A ON D ) .

R M R ‘ TH E C I S O N FA I Y BOO K . T lB D ‘ g NT u With 8 Colou red Pla tes a n d 48 other lllus s-H RBg é gﬁggs Pg!

Io n BWI i ed . t ra t S . n eS 63 Crow . g lt g . H O NO RIA D ALI S A N D E R ‘ ic Wit h 24 Co lo ” - . R . ii guiIif p scI m u . tg TH E BLU E POET Y BOO K M . i loo Illunt ra tio ns . n sv o i W th Crow . g lt edge. a. TH E FU RT H t DO I N G R ggLD B A ES R ~ THE TH EE B Y . “ I t h TH E T U E TO BOOK 2. 2.

“ us a i ns . n 8 v o I lt e es 63 Ill tr t o row . g dg . , 05 309 C Pic t ures . 8 R E D R S R T T U TO BOO K . H E E Y —T HE ADVB w II II ROB E RTS . NT 1 Ioo I us a i n s . n 8m) i ll tr t o Crow , g lt O F A I O N S M ed es 66. I g . C PTA N J H TH Two H undred a nd Pi it y Hm stti T HE AN MA S R "me P m im t of Wrath“ I L TO Y BOOK . - WI th I7 IIIust I a tiona a RO II E RTS . 3 I llus t ra t Io ns . n n Sv o I lt Cro . g C ro w 0 8v o 5 $ . net zigza g .

R E D AN M T ‘ O —A TH E BOOK OF I A L S E V E N S N . C H I S R I S Wi t h 66 RS O . lllua tra t io ns r n RD O F S . T E . C ow GA EN VE E SYO il a l “ 68 . L S T V . Po . av o . g t l . O U I S E ENSON p , d o

' Oa ucd Ch ild ren s Boo kH .

F O R E N R KA N D 8 5 m m . F w a U . u PT ON ( L C ) LI PT ON ( a wc eK. m B a RT HA ) m w inut d . R TW T H E AD E E S O ’ V NTU OF O WO S A R ‘ TH E G LLI GG PO D UTCH DOLLS A N D A G OLLI . L ' A D VE NT U RES i h S o o ' . W t I C l ure G i h ti l o o e P lat es a nd d WOO . W t C l ur d P lates . o n ‘to 63 . Obl g . n Illu r io n s i h x o n u mer ous; wt nt n t eTe t . Obl g ' I to 65 . . TH E GOLLIWOGG S A UTO- C C

AR . i h S I o o e a es a nd ' C T W t C l ur d Pl t E. GOLIJ WOGG S n me o s s at io ns in O TH BI CYCLE u r u Illu tr t he Tex t . h B o s CLU . W it h S I C lo ured Pla te and long ' ‘ n I ex ' umm s I s a io ns 0 the l t . Ob o ng u llu tr t l TH E W A I - GOLLI OGG S R S H I P . Wit h 30 Co l o ured Pictures and n umero us ' ll s a io n: in t he es . n I T Ob o 4to . 65 . THE GO LLIWOGG AT T HE u tr t t l g E W ’ S R S S \ i h 3 1 o o e a tes a nd O O S . EA I D E . V t C l ur d Pl TH G LLI GG CI CU ~ i S nut nem ue s a io ns In t he ex . Oh h I o o e i res . on 4 00 I llu tr t T t W t C l ur d P ctu Obl g . o 4 m oa s 65 . n 60. . l g . b rd ' T HE VEC E - “ B N S REVE E NG . T E ' W WA R . H GOLLI OGG I N With 8 ! Co lo ured Pla tes a nd num ero us W. o m m o a es on I l s e . a ions in the ex . on l n 61. C l ur d Pl t Obl g l u tr t T t Obl g .

T H E S I L V E R L I B R A R Y.

rb w n 8 v o 3 3 6d . EA L M E C , . CH VO U .

' ‘ ' no s S ir wi n See s od en . B uc k s lll . H s Ih a Ar ld ( Ed ) s L ds le . T ) I to r'y oi Clv i ti on ln

4 l 33 6d. ions . . S v a m m s a ls t . “ t h “ . i I l u tr t England .

' W l e ' a B l St u i e . B geh ot s ( J om ph c l d s h S The S o 0! the C u rch ill s ( WIM UM . ) t ry 35 . 6d . M ai nla n i or e 16 . i h 6 d F eld F c . 07 W t

a an d a n 35 . (id . M ps Pl s . ’ W o s . E nom S i B s geh ot ( ) c ic tu d es.

’ ' B of ea tio n : in lain Ac i h Clod d e( l. Cr P 8 ot s W. ite a S s ( ) L r ry t u die . W t n o o io n i h s a io s . co u t f E lut . W t 77 I llu tr t n o t Z“ 611. ea v ort ra it 3 . h . . v l . c ' W k Slr l Y ln n . Be er eI S . . i B t em Ceylo ’ h io n Con bes re ( Rev . . . ) end Hom on s Wi t 6 I llus tra t s . y W J w e l ol v . end E i ( V Re . J p st es ’ S u l. i h “3 us a io ns . Ba k r ir N . ﬂ e a n ou n In t. W I e s (S S . ) Ri d H d t ll tr t

Wit h G IIIuet ra tio ns . 3 3 . 6d . Ceylon . ' a Doa gell s Beggars All : N o el . ' v - ev u i ou h Beri ng G ould s m . C r s Myt s

ot th e M ldd le Ages . ' . o M A Do le e (Si r A C m ) icah Cla rke. ' a le o f M on mo h s Re e io n i h IO ut b ll . W t Ba r ingz. Om . m S A M W s a io ns 35 . 6d . I llu tr t . welt) o i i l lo W 2 u a. m l i o s v l

35 . u ‘ s (Sir A. Conan ) Th e of a nd o h w i ti e or Rom nn S eenes e Ta es . 35 . 6d . W s ( . A. G u l z t r l

in i . Wi Z S l s a the T med uguet un th I l u tr

io n s . 33 . 6d . t Do Consu l T h e Relap s e: A a le of t he en i h 5 " s H ugu ots . W t 2 lu t re ' o r st a io ns Beckef s w . A. ) C!u rlclu z . i 3 o ns 8 . 6d . I llu r t t . oi the ériv ate Life of the Ancien t Greeks .

s io ns . 35 . (id . With a I st at ' llu r s n S M n Do y le s ( Sir A . Con ) Th e t ark u ro

ett e . The ui ne it ie oi M e L rs M s (J . T. R d C s

it h I I7 I s a io ns . 36 . Bd . eh onelm d . W llu tr t ’ Th e His or ol Fro o d e l . A. t y B ugls nd . ‘ Wole t o the Defent M e(La dyi A V ln the S un from t he P ull ey oI the ' v W M IM S pan ish A ma a . Ill ols . St u n s !» M . r d Al b CD . S N W D A N 3 R D M S RA L om .

THE S ILVE U B A V— oon lén u d R R R r .

’ F s v reud s (J . “ ) Th e Dl m eeI Cs th sr lns H s R. ) S wo llen : .

. 4 ﬂ A is . m w 00 m ‘ m 8 "M u tton

’ Pm ds s u . (H . T h e W WIt “ ine l m an

-s s ln the o n n, m ” W n . an “ . a t ou m w e ﬁ

’ " l m Freu d s an m w m ih tat Ov o ls . m u n h . s ion s. c

' 0 H O e F w “ IH. R. ) Th at Ac t m TM “ w gh lﬁ lﬂm a m m .

‘ Letter s ol p ( H R J J os n N es t! m oons 8m m. 83 4 . Brest-us. . 8 I

' Proud e s u . A. ) Th os ss s Cs rlyle: a H - ot his ite. S 1 s IN m . 3 o . 7 3 L v l . l

um . 2 m ls . 7 s.

’ Proude s (J . A. ) Cc ss r : s SItetc h.

‘ A. ) Th e wo s n Frood s s (J . T Ch lel l Dun i R - n!t gra ti n I r s h onn i tee he Las t Cen tury .

H M a m a Wh it O Ilus tm t io ns . 3 5 .

Di e! s e 0 . . Ll ol e ( R v . R ) le th Du ke oi w ’ W We i h o ai o itt s ( . Vi it a a . t o ll m . W t P rtr t ) s s R is e . i t h so s a i P c s W I llu tr t o ns . ‘ Orev me u C . C . P . )J ou rns l ol th s Reigns of

f “ i i I (T w V0 nu‘ m ly mm: 0 . e “ d

if: 8 6 . 00 m 3 . ﬁll. each

’ s I1. S : A is o of Ad "s n s rd ( R. ) he H t ry i l ns h 32 Il us . ven ture. W t t r s tio

’ I1 d s ( N . R. ) Allen Ons t ermnIn .

i t h w lllus t rs t io ns . as 6d . .

' s . R. o lonel uer iwh V.C H ( H ) C Q . ‘ J elleries (R. ) oo M s : s P : s l o n y l h . W i th Fro ntis piec e W d o n I a “ Vi nettg nd ‘7 ' g at r g gy 8 2 V 2 'geﬁz o e P

' 16 mm" (Rd TI“ “ I‘m 0 n s n. R. ) Cleo s t rs . i h 29 ‘ t ( p W t . ‘ Wi th PO l t ratit o m the B s t i n I us t rs t to ns . 83 (id . fr u a he a C t dr l . ' Hs m rd s m. R. ) B ri e Brigh a m . Wit h ' 5 ) i s a ion 83 . 6d . S i r . llu tr t s . K ( J ) and M s IIeeo n s wIst or y oi t h e lndisn M u tiny o ’ " N . r e. i h o n is 6 v o ls . 33 . Oct . eac h . W s ( R. ) Beat ic W t Fr t

i t e 5 ed . i and V net 8 . p ece g . ' Kn h t s ' . B ls c lt ea t en d “ﬁ e H ard s ( H . R ) H r Wh it e

“fit S M Illust rs tio ns . eas e a n . Tr ur With 2 M ' ' s . AIIs n s i le. i h 84 H _(H R. ) W W t ' 1 "s a i n s . 33 - 64 » Kni h t . h tr g s (B F. ) W ere Three M eet : 1! Narra tive of Recen t

. . . m. o i h Kus h mi 11 (H R ) u t a ld . . es te n i et H r W r W t r W r T b , B um ( m A .‘ 33 , 4 i 5 , W th s Ms p and 64 mm

em n e Cookery. Domestc s neg e t . t c .

FLORA L D B CO RAT IO

M i s . a .

t wo a t l. e et a b les . P r . V g . I t .

a m as B U LL (T . 5 AN D p m

D R I NG TH E ERIOD U P S AVO RI E S It L A M O A Y . Pe . 0m se e . GIL lot h U N NC n . w d . ls : c .

i e» no. net . g lt edg . S PS AN D D T HE MATE RNA L M ANAG E OU R E S S E M E. P . 8 LA D e m s. O p . l Gd . M B NT OF CH I LDRE N I N H EALTH

AmD D S E E . Pe . th ro ewed ls. BIL ; I AS p a . a DE S A LIS S \i ALL A LA a mo s COOKE RY 1 U p i o WR ES AN D ! Rx i With $1 (IO in I N KL N O T

(b o w ? ro wn M o 5 5 . net . l ) .

Is ail. CAK E S AN D CON F E CTIOXS A . ” ‘ LA M D E . Fc . Il o ls . 6d . O p v . A M DOGS : a n ua l fo r Am a teu rs . i Pep . Geo . I . 6d . D RE S S E D GAM E AND PO U LTRY d D P . 8m s . li . ALA MO E . ep . l D RES S E D V EG ET AB L ES 2) LA

M D E . . i o I t . 6d . O Fcp l v .

D R S A LA Mo ms F c sv o I N K p . .

ls. Gi l. M .

Th e Fine Arts and M usic .

U E E T HE E - A E R S . N B N ON B G I N H A M L I . T XT N I NG 0 THE WORLD : Twen tydi v e T H E H I STORY OF ‘ i t res t S ir E o ws no B urm an lo u zs B A. D . F . HAI‘IJ N A-M . P c u . ) , 1 ?i o B a rt . M a um i t B oa s 7 3 . 6d . net . i ra tiuns . r wn 8v o 7 3 . 64 . rd . C o . .

E B U R N S A N D C O L N S O .

L G AN ATO WY . B C B C i L L . B U R N S IVI N y .

R M a nd Ro us m . COLizs s o J .

M i n. 40 P la tes I I S ins . ea h a e . I by I . c Pl t — M S A LI P co n ta ining Tw o Figures (a ) A N a tural M a le M Y U IC L ' o r Fema le Figure : The sam e Figure trai t of Rioba rd Wagner ‘ na m n i I n a o o s. 6 d n to t m . o i 7 . t u ﬂ ne A e . cm VO 63 . t P rtf l . S . » M — o minued Th e Fine Arts a nd u sic r o .

- i N — E RE S HU IS H H E AD A N D L O NG M AC F ARRE . L CTU ON ' éAn P R R S li an no A. M M AN LE s AN D m v A M NY. n AG . H O By G

E M B R E R S . U H i i i F N . Ov o I2s . OI D I E B v MA RC S B . o s . ARRB . ‘ ' LL. B . a so TheS i he o f t he s a m e l t tc ry . by ’ M rs . H u n a nd n S a m e : F p l rs . by

r . LO N O Q AN . i h 0 e ro d M s C . J . t 3 R p uc — T HE ACT M A T T H A Y . O F io n s in o o a nd ( 0 s i on s in t C l ur. I llu trat I N ALL ITS D ERS Y . An M n TOUCH I V IT o o h ome. I to £2 23 . net ’ c r . . Ana l a nd S yn thesi s o f Pian olo r te To ne uc t ion OB IAS M AT‘I'B A Y e o P By T . F ll w and Pro fes s o r o f t he Academ y oi — T H HU LLA H. E S R M s i o n on et c . i h 22 I l s t a io ns . H I TO Y OF u c . L d . W t l u r t M D R M 8 E S . B J o a n U II . vo O N U IC y H LLA .

Ov o . 83 . 8d .

M ORR IS (WI LLI AM ) .

M rs . A J A M ES ON ( NN A) . A R E RE D S R C H IT CTU . I N U T Y

o e e a e s . . A N D WE ALTH . C ll ct d P r Cr S A R E D AN D L E G EN D ARY p C iiv n 5 . net . . 8 ART o n a inin oi theAn . c t g gels a nd A han es the E v a n elin a the A os es rc g l . g . p tl .

t he Do o s 0! t he h h S t . Ma P E A RS FOR ART . ct r C urc . ry H O ES A N D F ' M a a ene t he a o n S ai n s the g . . M a t s . L es e i ere in B i m ham d l P tr t r yr Five ectur d l v d r . ~ t he E a l B is ho s t he e m i s a nd t l e - . H . 8 8 8 v o 6d . p . 88 1 r y r t o n o n etc . in l 7 i . . . L d . Cr ’ ‘ WB I YIO f ‘ S I iﬂ I R o f h is en o m as re re C r t d . p sen e in e ine i h i) i n t d t h F Arts . W t I Etch gs AN AD D RE S S D E E RE D AT and 187 oo s . 2 v o ls . M o ms ne . t. LI V W dcut . T HE D I ST R I B UTION OF P RIZ E S TO ST U D E NTS OF T H E B I RM I N G H AM M U N IC I PAL S CHOOL OF ART ON ‘ n E E D S T H E M O AS 2I 8 r E B R ARY l894 . Sv o . et . L G N O F N TIC F U . RD E RS as e es en e in t h i (P i nte in olden Ty e. ) O . r pr t d e F ne r d G p A s o m is i n t he Bene i ines and rt . c pr g d ct Au ust ines a nd e s e i e Im n hei . Ord r d r v d i t r S O M E S O PA E R R i i the Men i a n e s t he es i s H I NT N TT N d c t Ord r . J u t . D ES I G N I N G : a Lecture deli ered a t t he a nd t he e of the is i a io n of S t . v O ’ rd r V t t ' ’ Wo rit n Men s Co l o n o h a i h l l E hin n t t g I t M ry . W t tc gs a d Woo d M net . P i nte Decem ber l88 I . 8v o . ( . . r d s . v o l. SW) t 105 . ne . cut l . n G l n e i o de Typ . )

ARTS A N D ITS PRO D E RS E E D S O T H E MADO A UC L G N F N N . 0888 ) AN D T H E ARTS A N D CRAFTS O R B SS E D RG M A De ‘ LE VI I N RY . i net 8 Ls Gl. . OF TO D AY v o . . v o t ion a l i h a nd i ho t he n a n a ms w t w t ut I t . n ) f J P i nte i G ol a e. ’ ( r d d I W) H is to rical i no in t he An nuncia tio n to t he As s m io n a s e esen e in S a u pt . r pr t d cred ' A R S AN D RA TS E S S A S . a n n h n A T C F Y d Lege da ry C ris tia rt . w i th 27 Ry Mem bers i i i t he Arts and Cra fts E h in s a nd l65 \Voo dc ut s . v ol Syn tc g I . . i “( i th a e a e E x hibit o n S o ciety . Pr f c by loo. net .

1 n t . Wi L ii M o ni s . o n Svo 23 . 6 . e Li A n Cr w .

’ T HE S R OU R RD o F r . i ia m Mo is s he o s H I TO Y OF LO . or M W ll rr t r W rk .

a s ex e li n o i of Art “ i t h ha see . 24 27 28 a nd 40. m ﬁed i W rl e . t t pp . .

of His es S t . o h n the Ba is . and yp . J pt t o ther pers ons o f the Old an d New Tes ta men n the ' m ’ t. Com me ced by f ﬁ R E R S N — O LD E S J a mes o n : m ién ? OB T O NGLI H S De o a e in Ls ov Wit h 8 ) E ings and S ON G S AN D D ANCE . c r t d ‘ lo G iu ii u i Ro a a nrso ai . Ro a 8 a ms . net . o . 2 ) o o u s . 2 o s . b W W dc t v l . C ur y y l i to . 0 4 . net . KR IS T E LLE R — AN D R EA M AN

- P RT RA IT U RE S o r s c: o T T . O

i a ian to the o s e o f o s a nd a t S E S AR : a M o n r h . B y L br r H u L rd . JULI U C h v re a es RA N K ea n? S or n i h ﬁ sﬁtes a nd Chi-w o . i h 23 PM ra u P F c W t rt W t l t J w 9 i e e . lm er b l t o a nd I82 l s a ions in the exi . to i 4 i es n th s t p . I l u tr t t l . g lt F gur T

n e . h . t i i £3 lib . net . 2 t n. E EL - C O LO R PRO W E I GT ON — D V D RP O . U LL N . A M S I Practica l Ma nua l to r t he Lay TI VE RI Q R IC A L C A S tudent J Colour . B Em u No va T H 0014 O N S OP ! m a i h ? ’ in ol u D U R B A Va m n t. W t I I i h m C o r. AT M

net . 8 4 000 . m 5 2 9 m

E m u. Ro ya l Ge W I A R D S L L . H I TO

A RT . —T HE E E M E S WO T T O N . L NT R R o le te OP A CH ITECTU E . C l c d by

en -v or m s Kt . om th e heat A t h o s H W . . fr u r W W W N Q M .

A U TO D A F E AN D OT HER

— E R A R Y B A G E H O T . L I T

S D ES B Wa n n a Bm eum . i h TU I . y W t

a s v ols . Cro wn llm 33 . tu . a d t Po rtr it . .

- — R S B A R I N G G O U L D . CU I OU D s ”w a s o r THE M I D LE w a . — v o n F ROS T A ME DL E Y Re . 8 . m m oo o v w . Cr w B A Y E S AKE S E A RE B N S . H P E I KI E —T HE VI C A R S D ES . a nd o he s B t he TU I t r Es a ys. v G h S p n e B us s ” 18 319 3 “Wo w b T o m e c n e . LLB . LL. D. y

03 1m D ‘ D L. D . C r w m Wit h a Bi m ph ieal Preface Prok s so r l L o n a n p n s s C a eu . own (N o . a nd . Cr m u m s — T HE N E W E AR TT E B 0 N N L L . CH LO s now s G E R E E AN E . O G LIOT . J S ' i in A US TE N : ud es their Works . - u s II . nn . o n M 73 . 6 H s y Bo m Cr w .

net . H — T HE D S E RY AN D BOOT . I COV - D EC I PH E R M E NT OF T H E TR I LI NG R R B UAL CU N E I FO M I N SC I PTIONS . y l

A im m a J o a n oo m M . A. i h a a n B . W t Pl

of e se o is . i o Ids . net . P r p l l v . C ARI IES RE I S E R T HE H A R V E R H T G T , Y B O 0 A U A AN D D ES : ein a a s N N L. IG T b g Cl RIAGE AND ”m a m g s ilied Regist er of C ha rities in o r a va ila ble

in the Me o o is . i e 5 3 . net . tr p l l v . D — C R I S I E . S E E E H D CAS H T L C T O GS ON . OUT T ‘ ES S A S . B RIC H A RD o n n HR I S TI Y y C y C E . AN D VE RS E TRANS LA N W P o r o Ox o n . Hon . ith 2 .1 8 m m “ H , ﬂ o oogo x ,

nd 8 a ions . 8m i z6 . t raits a other I llus tr t .

net . C I AR R D I K N S ON . KI NG TH U a wa -u p D tenm I N COR NWALL . B y W . H io n; o so n M . D . i h 5 t a n . W t Illus r t Cr w

M 4 . . 4 s . 6 B t h e E S S AYS IN PARAD OX. y ‘ ' ‘ t s l d and and E R M EA Au ho r o f E p o ed I deas Times TH I N I NGS . ' ot el-t ween Bv Dn n o n M . 5 5 . . o i y . Cr w H . g lt

S TR AY TH O U G H TS ON

A E R. F M » I a o h 2 . 6 CT . t . “m le-t h o o . “ a u . m S TRAY TH O U G HTS F0

VA DS . LI I0m o . t . net .

- H — PAR ER AN D U N WI T E S U E Y . T H E R K N . O T H CO RE! ART OF B U I LD I NG A HO M E : 1 Co llee D E NC E O P RO B E R T S O UTH EY

d on ol Lectures and lus trat io ns . AR E E S I l C OL I N BOW L . Edi ted

P n and Rs v no rm U m s . h 08 WA n m s RD Dov oe . N o . It s .

. l u P M Pla tes M k net . ST EVE N a —O N T H E STOI P L C K—J AN B AU STE N I he? O L O O P S H S A N D TH E R CAI - I P I Co nteIG o I a ies a nd erse . A LT“ p r H lf W Wit h “ on o e Henm es ou n e. n m 04 . net . P c Cr w , w 3312135” m E RG E VI VLAN V!“ POORE (G O .

- R T H U I L I E R . T H E E S S AYS ON U RAL HYGI E N E . L “ CI P LES A D D E E- i h S s a io ns n M . E NC! W t I I llu tr t . m M GL OF L N TH l I R AP P THE DWE LLING H OU S E . Wi t h D ITiO NS 33cm ' a io s . o n s H M 3 . 6d R . 36 s n . E . W I llu tr t Cr w . T it h M a p s anI “ M “ M T HE E ARTH I N RE LAT ION TO THE PRES E RVATION AN D D ES T U RN E R AN D S U T H ER TRU CTIO N A A : t he OF CONT G I - T H I D 5 10 ’ S Man y leetum d lwe ed at th e TRALIAN iIT B Ri ’ e r TlIgg iif o he . of h si ia n“ m I“ C n P y c OVLEs A Lex A iI o En I

II Q G . M 5 . I M I RU C M . 5 “v n , Cro w 0, 5 5 COLON I AL AN D C AM P S ANI WAR D ' P RO B E M S A N D AT IO N Wit h l l lllus trat ions . o L T . Cr wn

' Life and toes of Ca rd — A S A D W E T T I . s m m . net . R 0 3 H O OF , DA NTE : hd n an Essa y to wa rds s t udying

im e h Is o rld a nd his i ima e. B H s lf. P lgr g y AR I A F RANC E IIC A RO S S ETTI . o n 8m M Cr w .

A U D B a D L E A E S E R I«L O . y I TT NT . os Ito 5 s. net . P t .

' ’ S ketches a nd l r rm ma inl . y rep u nlrd '

om th t a m s s G a u nt . fr eS . j Cra ven . H A D W E D R K: T S L L . I N E M

P RAN B AN D - B C E S A . B W E A E P L G I L TION y T H R S . A R AO ‘ ‘ AD W M . ARTH U R S H ELL . A . M . I) . o n . Cr w G U I D B I O G AR DB N PLA NT S .

Sv o 5 3 . net . . W RATI-l m With Iss D

M 213 - na . U - S OU LS BY (L CY H . S RA S ON RE AD W I — M E M T Y THOUGHT N S T O N . OI RS

. Pe . 8v o o h 26. 64 . net im I NG . cl t . l p

he rI s 3 . 6d et ea e e 3 . n . l t r. g dg . S F R STRAY THOUGHT O G I RLS .

Pe . Ov o o h 25 . 6d . net . im ea he p . cl t . : l p l t r.

i a es as . 04 . net . g lt g . ‘ Co o] the Ori ginal E dih o n ca n still

bei . m Is . 6d . net. nd . S T R A Y T H O U G H T S F O R M T ERS AN D EA E RS Pc O H T CH .

Bv o Clot h 28 . 6d . net . im ea h i . . : l p l t er . g t

M . n e es 35 . et . dg .