Shah Jahan ruled from 1628 to 1658, and had been on the throne only two years when death took from him his adored Arjamand. Then came the resolve to erect to her memory a monument that might measure his love and grief. Since Akbar's time, the best architects, artists, and skilled workmen of India, Persia, and Arabia had been attracted to Agra and neighboring Delhi. All were summoned to Shah Jahan's court, and the resources of his empire placed at their disposal. The Taj, consequently, was not the creation of a single master mind, but the consummation of a great art epoch. Its construction was commenced four years after Arjamand's demise. The bereft emperor had appointed a council of great architects of India to guide the work. Drawings of celebrated structures of the world, especially those in Moslem lands, were studied. More than one European was attracted to the Mogul court, and it is believed that Geronimo Verroneo, who had journeyed from Italy, laid several plans before Shah Jahan. There are records at Agra showing that certain suggestions of the Italian were adopted, but it is common belief that the general design was the recommendation of a Turkish or Persian architect named Ustad Isa. In keeping with an old Tartar custom, a garden was chosen as the site of the tomb--a garden planted with flowers and fragrant shrubs, emblems of life, and solemn cypresses, emblems of death and eternity. In Mogul days such a garden was maintained as a pleasure ground during the owner's lifetime, and used for his interment when dead. "And she who loved her garden, lieth now Lapped in a garden. And all this for Love!" The laborers came from many parts of the world--the chief masons from Northern India and Bagdad, the dome builders from Asiatic Turkey, and the mosaic artists from Persia and probably Italy. Every section of India and Central Asia was drawn upon for materials. The marble, spotless in purity, was brought from Jeypore, 300 miles away, on the backs of elephants and camels or by bullock carts. The red sandstone was contributed by Fathpu Sikrij, the jasper by the Punjab, the crystal and jade by China. The turquoises came from Tibet and the Red Sea, the sapphires and lapis lazuli from Ceylon, coral and cornelian from Arabia, onyx and amethysts from Persia, and the diamonds from Bundelkund. It engaged the unceasing labor of 20,000 men for seventeen years to complete the Taj; and like that other great tomb, the Cheops Pyramid in Egypt, it was reared chiefly by forced labor, unpaid and uncared for, and thereby produced great suffering and mortality. This is the chief blemish attaching to the project that gave to art the mausoleum overlooking the Jumna.