l of the manufacturing was
done in the households by hand work. Within recent years five
cotton factories, representing a capital of more than $2,500,000,
have been established, and furnish labor for 3,000 men, women and
children. This innovation was not opposed by the guilds because
its products would come into direct competition only with the
cotton goods of England, and would give employment to many idle
people; but now that silk looms and other machinery are proposed
the guilds are becoming alarmed and are asking where the intrusions
are likely to stop.

The tombs of Ahmed, and Ganj Bhash, his chaplain, or spiritual
adviser, a saintly mortal who admonished him of his sins and kept
his feet in the path that leads to paradise, are both delightful,
if such an adjective can apply, and are covered with exquisite
marble embroidery, almost incredible in its perfection of detail.
It is such as modern sculptors have neither the audacity or the
imagination to design nor the skill or patience to execute. But
they are not well kept. The rozah, or courtyard, in which the
great king lies sleeping, surrounded by his wives, his children
and other members of his family and his favorite ministers, is
not cared for. It is dirty and dilapidated.

[Illustration: HUTHI SINGH'S TOMB--AHMEDABAD]

This vision of frozen music, as some one has described it, is a
square building with a dome and walls of perforated fretwork in
marble as delicate as Jack Frost ever traced upon a window pane.
It is inclosed by a crumbling wall of mud, and can be reached only
through a narrow and dirty lane obstructed by piles of rubbish,
and the enjoyment of the visitor is sometimes destroyed and always
seriously interfered with by the importunities of priests, peddlers
and beggars who pursue him for backsheesh.

The lane from the mausoleum leads into the courtyard of the Jumma
Musjid, a mosque erected by Ahmed Shah at the height of his power
and glory. It is considered one of the most stately and satisfactory
examples of Saracenic architecture.

The most beautiful piece of carving, however, in this great
collection is a window in a deserted mosque called Sidi Sayid.
Perhaps you are familiar with it. It has been photographed over
and over again, and has been copied in alabaster, marble, plaster
and wax; it has been engraved, photographed and painted, and is used
in textbooks on architecture as an illustration of the perfection
reached by the sculptors of