The tombs of Ahmed, and Ganj Bhash, his chaplain, or spiritual adviser, a saintly mortal who admonished him of his sins and kept his feet in the path that leads to paradise, are both delightful, if such an adjective can apply, and are covered with exquisite marble embroidery, almost incredible in its perfection of detail. It is such as modern sculptors have neither the audacity or the imagination to design nor the skill or patience to execute. But they are not well kept. The rozah, or courtyard, in which the great king lies sleeping, surrounded by his wives, his children and other members of his family and his favorite ministers, is not cared for. It is dirty and dilapidated. [Illustration: HUTHI SINGH'S TOMB--AHMEDABAD] This vision of frozen music, as some one has described it, is a square building with a dome and walls of perforated fretwork in marble as delicate as Jack Frost ever traced upon a window pane. It is inclosed by a crumbling wall of mud, and can be reached only through a narrow and dirty lane obstructed by piles of rubbish, and the enjoyment of the visitor is sometimes destroyed and always seriously interfered with by the importunities of priests, peddlers and beggars who pursue him for backsheesh. The lane from the mausoleum leads into the courtyard of the Jumma Musjid, a mosque erected by Ahmed Shah at the height of his power and glory. It is considered one of the most stately and satisfactory examples of Saracenic architecture. The most beautiful piece of carving, however, in this great collection is a window in a deserted mosque called Sidi Sayid. Perhaps you are familiar with it. It has been photographed over and over again, and has been copied in alabaster, marble, plaster and wax; it has been engraved, photographed and painted, and is used in textbooks on architecture as an illustration of the perfection reached by the sculptors of India. The design is so complicated that I cannot describe it, but the central features are trees, with intertwining boughs, and the Hindu who made it could use his chisel with as free and delicate a hand as Raphael used his brush. Fergusson, who is recognized as the highest authority on architecture, says that it is "more like a work of nature than any other architectural detail that has yet been designed, even by the best masters of Greece or the middle ages." Yet the mosque which this precious gem made famous is abandoned and deserted, and the courtyard is now a cow pasture. X JEYPORE AND ITS MAHARAJA