Note 551 — Chapter X · MOGUL ARCHITECTURE.

Although the fact seems hardly now to be doubted, no very direct evidence has yet been adduced to prove that it was to foreign—Florentine—artists that the Indians owe the art of inlaying in precious stones generally known as work in “pietro duro.” Austin or Augustin de Bordeaux, is the only European artist whose name can positively be identified with any works of the class. He certainly was employed by Shah Jehan at Delhi, and executed that mosaic of Orpheus or Apollo playing to the beasts, after Raphael’s picture, which once adorned the throne there, and is now in the Indian Museum at South Kensington.

It is, however, hardly to be expected that natives should record the names of those who surpassed them in their own arts; and needy Italian adventurers were even less likely to have an opportunity of recording the works they executed in a strange and foreign country. Had any Italian who lived at the courts of Jehangir or Shah Jehan written a book, he might have recorded the artistic prowess of his countrymen, but none such, so far as I am aware, has yet seen light.

The internal evidence, however, seems complete. Up to the erection of the gates to Akbar’s tomb at Secundra in the first ten years of Jehangir’s reign, A.D. 1605-1615, we have infinite mosaics of coloured marble, but no specimen of “inlay.” In Eti-mad-Doulah’s tomb, A.D. 1615-1628, we have both systems in great perfection. In the Taje and palaces at Agra and Delhi, built by Shah Jehan, A.D. 1628-1668, the mosaic has disappeared, being entirely supplanted by the “inlay.” It was just before that time that the system of inlaying called “pietro duro” was invented, and became the rage at Florence and, in fact, all throughout Europe; and we know that during the reign of the two last-named monarchs many Italian artists were in their service quite capable of giving instruction in the new art.