86 THE AGRA GRAPE GARDEN 



fully repeat the lines of the four slender pillars, 

 the feathery heads of the palms tower high 

 above the outer walls, the walks are bordered 

 by sweet-scented tuberoses and hollyhocks 

 planted alternately, and in front, close to the 

 little fountain, a bed of poppies makes a solid 

 mass of colour, softening the harsh edge of the 

 white marble platform with their frail, trans- 

 parent flowers. 



From old Indian miniature paintings such as 

 this, some idea can be gathered of the planting 

 of these Paradise gardens, whose beauty formed 

 the chief symbolic and artistic inspiration of 

 Mughal decorative art. 



This idea of Paradise underlay the whole 

 artistic world of the Mughal craftsman, builder, 

 and artist. It included the angels, and houris, 

 the gentle beasts, and bright birds, and glitter- 

 ing fishes whose home it was, and who all 

 lived together there in perfect harmony; 

 for although the stricter conventions of some 

 Moslem sects might forbid their representation, 

 no idea of an Indian Paradise garden is complete 

 without their presence, as well as the more 

 familiar forms of trees, and fruits, and flowers, and 

 running waters. Whatever building or smaller 



