played his games of living chess with slave-girls as pieces moving on the checkered pavement, that nothing can be conceived so picturesque in outline, so richly and so marvellously carved, without one touch of extravagance or false taste. The five-storied Panch Mahal, a kind of Buddhist Vihara, and the house of Akbar's witty Hindu favourite, Raja Birbal, have their individual charm; while the frescoes in "Miraim's Kothi" are curious documents in the history of Indian painting, of which we obtain some glimpses in the albums of Moghul portraits, drawn by artists of the Panjab and now preserved in the British Museum and a few private collections. The presence of Jesuit Fathers at Agra, attracted by the liberal views of Akbar, accounts for some of the characteristics of these curious paintings. Aureoles and angels appear; a little later we find the Blessed Virgin represented in a kiosk of Jahangir; and scenes of Christian hagiography were favourite subjects with Moghul artists. The Annunciation is believed to be depicted in a fresco at Fathpur-Sikri, while another strongly resembles the fall of Adam. There are even traces of the work of Chinese artists in the Buddhist paintings in the "Home of Dreams." Indeed this Indian Pompeii, with its unique and never iterative designs, is a museum of exquisite æsthetic genius. Akbar's views on art were characteristic. One day he remarked to some friends: "There are many that hate painting, but such men I dislike. It appears to me as if a painter had quite peculiar means of recognizing God; for a painter, in sketching
