ut by the guides as the
prison where Shah Jahan was confined. This may be accepted or not,
according to the choice of the visitor. When distinct historical
authority is wanting, it is very difficult 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 close
prisoner, but simply confined to certain apartments in the palace.

We will now pass over to the river side of the Machhi Bhawan, and
approach that part of the palace which contains the Diwan-i-khas,
or Hall of Private Audience, the Zanana and Mahal-i-khas, all built
by Shah Jahan and occupied by him in the days of his royal state
and sovereignty. They rank with the Diwan-i-khas at Delhi as the
most exquisite of Shah Jahan's buildings. From this classification
I purposely omit the Taj, gleaming on the banks of the river lower
down. The Taj stands by itself.

The Diwan-i-Khas.

The Diwan-i-khas was built in 1637. Though much smaller than the
Diwan-i-khas at Delhi, it is certainly not inferior in the beauty
of its proportions and decoration. Most 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-worship. All the details are charming, but the dados,
especially, edged with inlaid work and carved with floral types in the
most delicate relief, show to perfection that wonderful decorative
instinct which seems to be born in the Oriental handicraftsman. The
designer has naively translated into marble the conventional Indian
flower-beds, just as they were in every palace garden, but there
is perfect art in the seeming absence of all artifice. The dados
outside the Taj are similar in design to these, though larger and
correspondingly bolder in style. The roof of the Diwan-i-khas, with
its fine covered ceiling, is interesting for its construction.

JAHANGIR'S THRONE.--On the terrace in front of the Diwan-i-khas
are placed two thrones, one of white marble on the side facing the
Machhi-Bhawan, and the other of black slate on the river side. From
the Persian inscription which runs round the four sides of the black
throne we learn that it was made in 1603 for Jahangir. This was two
years before the death of his father, Akbar, and he was then only
Prince Salim. The throne was, therefore, probably made to commemorate
the recognition by Akbar of his son's title to the su