The main feature in this central pile is the great dome, which swells upward to nearly two-thirds of a sphere and tapers at its extremity into a pointed spire crowned by a crescent. Beneath it an enclosure of marble trellis-work surrounds the tomb of the princess and of her husband, the Emperor. Each corner of the mausoleum is covered by a similar though much smaller dome erected on a pediment pierced with graceful Saracenic arches. Light is admitted into the interior through a double screen of pierced marble, which tempers the glare of an Indian sky while its whiteness prevents the mellow effect from degenerating into gloom. The internal decorations consist of inlaid work in precious stones, such as agate, jasper, etc., with which every squandril or salient point in the architecture is richly fretted. Brown and violet marble is also freely employed in wreaths, scrolls, and lintels to relieve the monotony of white wall. In regard to color and design, the interior of the Taj may rank first in the world for purely decorative workmanship; while the perfect symmetry of its exterior, once seen can never be forgotten, nor the aerial grace of its domes, rising like marble bubbles into the clear sky. The Taj represents the most highly elaborated stage of ornamentation reached by the Indo- Mohammedan builders, the stage in which the architect ends and the jeweler begins. In its magnificent gateway the diagonal ornamentation at the corners, which satisfied the designers of the gateways of Itimad-ud-doulah and Sikandra mausoleums is superseded by fine marble cables, in bold twists, strong and handsome. The triangular insertions of white marble and large flowers have in like manner given place to fine inlaid work. Firm perpendicular lines in black marble with well proportioned panels of the same material are effectively used in the interior of the gateway. On its top the Hindu brackets and monolithic architraves of Sikandra are replaced by Moorish carped arches, usually single blocks of red sandstone, in the Kiosks and pavilions which adorn the roof. From the pillared pavilions a magnificent view is obtained of the Taj gardens below, with the noble Jumna river at their farther end, and the city and fort of Agra in the distance. From this beautiful and splendid gateway one passes up a straight alley shaded by evergreen trees cooled by a broad shallow piece of water running along the middle of the path to the Taj itself. The Taj is entirely of marble and gems. The red sandstone of the other Mohammedan buildings has entirely disappeared, or rather the red sandstone which used to form the thickness of the walls, is in the Taj itself overlaid completely with white marble, and the white marble is itself inlaid with precious stones arranged in lovely patterns of flowers. A feeling of purity impresses itself on the eye and the mind from the absence of the coarser material which forms so invariable a material in Agra architecture. The lower wall and panels are covered with tulips, oleanders, and fullblown lilies, in flat carving on the white marble; and although the inlaid work of flowers done in gems is very brilliant when looked at closely, there is on the whole but little color, and the all-prevailing sentiment is one of whiteness, silence, and calm. The whiteness is broken only by the fine color of the inlaid gems, by lines in black marble, and by delicately written inscriptions, also in black, from the Koran. Under the dome of the vast mausoleum a high and beautiful screen of open tracery in white marble rises around the two tombs, or rather cenotaphs of the emperor and his princess; and in this marvel of marble the carving has advanced from the old geometrical patterns to a trellis-work of flowers and foliage, handled with great freedom and spirit.