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Mogul architecture as an "evanescent style," might take exception to such remarks, but one who has carefully studied the Indian art and has imbibed its spirit, would feel no hesitation in giving his full unqualified assent to it. Indeed, by voicing such noble sentiment, the great Artist of the present day has only given out the truth. The Taj at Agra which is universally admitted as one of the ten wonders of the world, is a sufficient answer to the disparaging criticism of the "grand old man" of Coniston. True it is, the temple of Hamsesvari cannot be placed on the same platform with that great ideal of the building art, but we must bear in mind that the two things are quite different in their nature. The Temple with its sculptured arches and its spires pointing heavenwards is a symbol as most Eastern buildings are symbols, but the Mausoleum stands alone among Eastern buildings, for it represents in art an attempt towards individualism,—"the proud passion of an Emperor's love wrought into living stone." The one is like the Partheon a shrine for a Goddess—an exquisite casket to contain the jewel; the other is the jewel—the ideal itself. It is this difference in their character which renders it necessary to judge them by different standard. When so judged, the temple of Hamsesvari appears in its true colors and deserves great praise, though certainly not to the extent the Taj does, which stands almost unparalleled in the world. Indeed, the temple is a very beautiful piece of architecture in which Art strives to surpass Nature. It is all throughout nicely carved and ornamented, the general effect of which on the mind of the beholder is very striking. The central block in which the presiding Goddess holds her Court is surrounded by transepts which rest on stone columns and arches. It is circular in plan, and is roofed with a graceful dome, supported by pillars or rather pilasters at the corners of the octagon. The transept in the front or south side is called the 'Nat-Mandir, literally the dancing hall; it is a splendid piece of work, propped up by twelve columns and arches, beautifully carved and ornamented. The painted ceiling, the fine lattice-work above the doorway and the stone fountain below, make up a picture which is certainly pleasing to the sight. On festive occasions, when the whole building is lit up and the fountain is made to play, and the musical band at the Nahabatkhana strike up their best, the whole scene with the spacious courtyard ringing with the