DOI Page / Citation link:
https://doi.org/10.11588/diglit.26747#0508
444
SARACENIC ARCHITECTURE.
Book IX.
tliere is now in Inclia no Moslem monarcli \\ritli means sufficient to
attempt an erection of this kind, and, if sucli an at.tempt were made, it
probably would be adorned with Italian details in the worst possible
taste, and be more an emblem of tlie utter degradation of tlie race than
a monument capable of conveying to posterity an idea of their great-
ness or power.
Palaces.
It is t.rue, perliaps, that in India the niost characteristic form of
Moslem art is that found in the tombs just described; but at the same
time it must be admitted tliat Saracenic arcliitecture in general is most
distinctively represented by its palaces. It was for the display of lux-
urious splendour that the taste of the people was best suited, and it is
consequently in the style displayed in tlieir palaces that they can best
lay claim to pre-eminence, if they possessed it anywhere. None of the
races who have at any period embraced the religion of Mahomet were
capable of such a sustained effort of religious enthusiasm as that which
gave rise to the Gothic art. Neither did they ever attain that perma-
nent durability which gives to the Egyptian monuments such an
expression of eternity; nor did they at any time possess the percep-
tion of intellectual beauty which at Athens produced the Parthenon.
Their characteristic was more that of elegant and luxurious refinement.
Their taste led them to splendour—to gorgeous pomp and cere-
monial—-rather than to those higher feelings whicli dignify the works
of Western nations. Yulgar they never were, for Auilgarity is unknown
in the East, while a sense of the picturesque seems an inherent. quality
of the Asiatic mind—qualities wliich, combined with an almost. femi-
nine delicacy of expression, were admirably adapted t.o produce an
exquisite style of palatial art; but. one that could never reacli either
to sublimity, or to the manlier and nobler, thougli perhaps less refined,
styles of Western Europe.
Yery little now remains of the palaces built by the Pathans in
India. The finest, and perhaps the best of these, was that built at
Agra by Sher Shah, whose tomb at Sasseram is described above. It
certainly belonged to the best age ; and being built to adorn the newly
established capital, had probably all the art lavished upon it wliich
that age afforded. Being the first, it. had the misfortune to be placed
on the liighest spot within the walls of the fortress. Ilence the present
enlightened government of India, fancying this a good site for a
barrack, pulled it down, and replaced it by a more than usually hideous
brick erection of t.keir own. Tbis is now a storeliouse, and looms in
whitewashed ugliness over the marble palaces of the Moguls, a fit
standard of comparison of the taste of the two races.
Judgingfrom afragment tkat remains, and tbe accounts received on
t.he spot, tliis palace must have gone far to justify tbe eulogium tbat
bas more tban once been passed on tlie works of tbese Patbans—tliat
“tbey built like giants, and finisbed like goldsmitlis tbe stones
seem to liave been of tbe most enormous size, and ihe details of most
exquisite finisb. It bas passed away, howevor, like many anotber
SARACENIC ARCHITECTURE.
Book IX.
tliere is now in Inclia no Moslem monarcli \\ritli means sufficient to
attempt an erection of this kind, and, if sucli an at.tempt were made, it
probably would be adorned with Italian details in the worst possible
taste, and be more an emblem of tlie utter degradation of tlie race than
a monument capable of conveying to posterity an idea of their great-
ness or power.
Palaces.
It is t.rue, perliaps, that in India the niost characteristic form of
Moslem art is that found in the tombs just described; but at the same
time it must be admitted tliat Saracenic arcliitecture in general is most
distinctively represented by its palaces. It was for the display of lux-
urious splendour that the taste of the people was best suited, and it is
consequently in the style displayed in tlieir palaces that they can best
lay claim to pre-eminence, if they possessed it anywhere. None of the
races who have at any period embraced the religion of Mahomet were
capable of such a sustained effort of religious enthusiasm as that which
gave rise to the Gothic art. Neither did they ever attain that perma-
nent durability which gives to the Egyptian monuments such an
expression of eternity; nor did they at any time possess the percep-
tion of intellectual beauty which at Athens produced the Parthenon.
Their characteristic was more that of elegant and luxurious refinement.
Their taste led them to splendour—to gorgeous pomp and cere-
monial—-rather than to those higher feelings whicli dignify the works
of Western nations. Yulgar they never were, for Auilgarity is unknown
in the East, while a sense of the picturesque seems an inherent. quality
of the Asiatic mind—qualities wliich, combined with an almost. femi-
nine delicacy of expression, were admirably adapted t.o produce an
exquisite style of palatial art; but. one that could never reacli either
to sublimity, or to the manlier and nobler, thougli perhaps less refined,
styles of Western Europe.
Yery little now remains of the palaces built by the Pathans in
India. The finest, and perhaps the best of these, was that built at
Agra by Sher Shah, whose tomb at Sasseram is described above. It
certainly belonged to the best age ; and being built to adorn the newly
established capital, had probably all the art lavished upon it wliich
that age afforded. Being the first, it. had the misfortune to be placed
on the liighest spot within the walls of the fortress. Ilence the present
enlightened government of India, fancying this a good site for a
barrack, pulled it down, and replaced it by a more than usually hideous
brick erection of t.keir own. Tbis is now a storeliouse, and looms in
whitewashed ugliness over the marble palaces of the Moguls, a fit
standard of comparison of the taste of the two races.
Judgingfrom afragment tkat remains, and tbe accounts received on
t.he spot, tliis palace must have gone far to justify tbe eulogium tbat
bas more tban once been passed on tlie works of tbese Patbans—tliat
“tbey built like giants, and finisbed like goldsmitlis tbe stones
seem to liave been of tbe most enormous size, and ihe details of most
exquisite finisb. It bas passed away, howevor, like many anotber