small pavilion on the
roof. Originally the walls were entirely covered by fresco paintings,
but only a few fragments now remain. Unfortunately, these have been
protected by a coat of varnish, which reduces them all to a dull
monochrome. It is to 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 present in Persian
art, there is no ground for Edmund Smith's supposition that Chinese
artists were employed here.

On the side window over the eastern doorway is a painting of a
winged figure, in front of a rock cave, supporting a new-born babe
in its arms. In all probability it refers to the birth of Jahangir
in the cell of the Saint Salim Chishti, which Akbar, no doubt,
thought miraculous. Many archaeologists make the great mistake of
attributing every winged figure in these decorations to some Biblical
story. Heavenly beings with wings, the inhabitants of Paradise,
spirits of the air, or "angels," are very 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 painting. Abul Fazl,
in the "Ain-i-Akbari," states that "His Majesty from the earliest
youth has shown a great predilection for the art, and gives it
every encouragement, as he looks upon it as a means both of study
and amusement. Hence the art flourishes, and many painters have
obtained great reputations. The works of all painters are weekly
laid before his Majesty by the Daroghas and the clerks; he confers
rewards according to the excellence of workmanship, or increases
their monthly salaries. Much progress was made in the commodities
required by painters, and the correct prices of such articles were
carefully ascertained."

Akbar himself remarked, "Bigoted followers of the law are hostile
to the art of painting, but their eyes now see the truth. There are
many that hate painting, but such men I dislike. 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 cannot bestow personality upon his work, and is thus
forced to think of God, the giver of life, and will thus increase his
knowledge." The enlightened court of Akbar was evidently a paradise
for artists.

Opposite to Akbar's apartments is a large square tank with a platform
in the centre, approached