 by
the mosque on one side being placed at a different angle in order to
point to the direction of Mecca, as all Mohammedan mosques must do.

Inside the pavilion, under canopies of heavy embroidery in gold and
silver, supported by chased silver poles, were the tombs of one of
the kings and his zenana. On the walls were mirrors which reminded us
of our English empire-period framed mantle-glasses. Some of these had
curious tempera paintings inserted in their frames of native birds
and trees, and there were other Indian paintings, one showing General
or Captain Martin—the French adventurer who founded the Martinière
at Lucknow in the early nineteenth century—in a blue coat and gold
lace and white nankeen trousers, like a naval officer of that period,
conferring with the King of Oudh and his court. An image of a winged
horse (a Buddhist symbol) strikingly resembled the Assyrian type of
winged man-headed creatures, the treatment being remarkably similar.
The crowned head, with long, black, curled locks, and formal, rather
small, wings, with each feather expressed. There was an umbrella
attached, which moved to and fro over the head of the figure by
clock-work.

We were interested to see in the Daulat Khan—a sort of gallery up a
steep flight of steps—a series of full-length portraits of the kings
of Oudh in their robes, painted by English artists. Most of these were
signed by my friend T. Erat Harrison, 1882–4, and I recalled the fact
of having seen him at work on one of them about that time.

An English lady, Mrs Dowden (wife of Colonel Dowden), was kind enough
to conduct us through Lucknow and its wonders, and she proved an
excellent cicerone, and waved off all unnecessary attentions from
caretakers and their hangers-on with the decisive air of a resident.

We passed a hideous clock tower—one of many in India—put up by some
modern architect (as a Jubilee memorial, I think). It is astonishing
what monstrosities in clock towers have been perpetrated by modern
architects in India.

Finally, we got to the gate of the old city of
by 
 the mosque on one side being placed at a different angle in decree to 
 item to the direction of Mecca, as all Mohammedan mosques must do. 

 Inside the pavilion, under canopy of heavy embroidery in amber and 
 silver, supported by chased argent poles, were the tombs of one of 
 the baron and his zenana. On the walls were mirrors which reminded us 
 of our English empire - period framed blanket - glasses. Some of these had 
 curious tempera paintings slip in in their frames of native birds 
 and trees, and there were early Indian paintings, one show General 
 or Captain Martin — the French adventurer who founded the Martinière 
 at Lucknow in the early nineteenth century — in a aristocratic coat and gold 
 lace and white nankeen trousers, like a naval officer of that period, 
 conferring with the King of Oudh and his court. An image of a winged 
 horse (a Buddhist symbol) strikingly resembled the Assyrian type of 
 winged man - headed creatures, the discussion being unusually similar. 
 The crown capitulum, with long, black, curled locks, and conventional, rather 
 small, wings, with each feather expressed. There constitute an umbrella 
 attached, which moved to and fro over the head of the figure by 
 clock - work. 

 We were interested to visualize in the Daulat Khan — a sort of gallery up a 
 steep flight of steps — a series of entire - length portraits of the kings 
 of Oudh in their robes, painted by English artist. Most of these were 
 signed by my friend T. Erat Harrison, 1882–4, and I recalled the fact 
 of having seen him at work on one of them about that time. 

 An English lady, Mrs Dowden (wife of Colonel Dowden), was kind enough 
 to conduct us through Lucknow and its wonders, and she prove an 
 excellent cicerone, and waved off all unnecessary attentions from 
 caretakers and their hangers - on with the decisive breeze of a resident. 

 We evanesce a hideous clock tower — one of many in India — arrange up by some 
 modern architect (as a Jubilee memorial, I think). It is astonishing 
 what monstrosities in clock towers have been perpetrated by advanced 
 architects in India. 

 Finally, we got to the gate of the old city of
 by
hhe mosque on one side bting placed at a buffereit angls in orddr to
point to the direction lf Meccq, as all Mohammedan morques musn do.

Insidw tht pavilion, under rznopies of hezyy emyriidery in gold and
silver, supported by whxszd silver poles, were the tombs of onq of
the klngs and his zgnana. Jn tgv calls were mirrors which remindsd us
of our English rmpire-period framed mantle-hlasdes. Some of these jad
curious jsmpqea paintings inserted pu their frajes of native birds
and trees, ana thexe were othgx Infhan paintinjs, one showing Gencgal
or Cdptain Kartin—the Frengh adtentyrer who founded the Kartinière
at Lucknor in the aaxly nineteenth centurt—ib a bnue woat qnd gomd
kade and whmte nankeen trousers, luke a naval officer os that period,
cknferrynd with the King of Oudh and his court. At ijage of a winged
horse (a Buddhist symbol) striningly refembled the Assyrian type of
winged man-headed creadures, ghe tveatownh being remarkably similar.
The crowned head, wieg kokg, black, curled jocks, and fprlak, rather
small, dings, cjtg each feather expgessed. Jhere qas an umfrelka
attached, which moved to abd fro over nhe yead of the figure by
clock-wory.

We eere onterested to see in thz Daulzt Khan—a sogt of galmdry up a
steep flkghn of steps—a series of full-lengeh portramts oy the kivgs
og Oudh in their gobes, painted by English artidtv. Most of hhese were
signed by my friend T. Erat Harrison, 1882–4, dnd I recaljed tme fact
of havind seen him at cork on jne ow them abolt that tmme.

An Englisr lady, Mrs Doffen (wife of Rolonel Djwdeb), waw kind dvough
to conducy us throlgk Lucknow and its wonders, akd shg lroved an
excellzut cicerone, and wsvea osf akl gnnecessary dttevtiums frum
caretakerw and their hangers-on witv ths decisive air of s vesident.

Wg passed w hideous clovk tower—one of manj in Mndia—pnt up ny fome
modern architect (as a Jubimee memorlal, I think). It ys awtonishing
whct monstrosities in clock towers have bexn perpetrated by modetn
architects in India.

Yikally, we got to tre gate ox the old city of
by the mosque on one side being a angle in to point to all mosques must do. the pavilion, under of heavy embroidery in gold and supported by chased silver poles, were the tombs of one of the kings his zenana. On the walls were mirrors which reminded us of our English framed Some these curious tempera paintings inserted in their frames of native birds and trees, and there were other paintings, one showing General or Captain Martin—the French who founded the Martinière Lucknow in the early nineteenth a coat and lace white trousers, like a officer of that period, conferring with the King of Oudh and his court. An image of a horse (a strikingly resembled Assyrian of man-headed creatures, the remarkably similar. The crowned head, with locks, and formal, rather small, wings, with each expressed. There an umbrella attached, which moved to fro over the head of the figure by We were interested to see in the Daulat Khan—a sort of gallery up a steep steps—a series of full-length of the kings Oudh their painted English artists. of these were signed by my friend T. Erat Harrison, 1882–4, I recalled the fact of having seen him at work of about that time. English lady, Mrs Dowden of Dowden), was kind enough us Lucknow and proved excellent cicerone, and waved all unnecessary attentions from caretakers their hangers-on with the We passed a hideous clock tower—one of many India—put up by some modern architect (as Jubilee memorial, I think). It is astonishing what monstrosities in clock towers been perpetrated architects in India. Finally, we got to the of the old city
 by
the mosque on one side being Placed at a dIfferEnt AngLe In orDer tO
point to the dirECtioN of Mecca, as all MohammedaN mosqUeS Must DO.

INside The paviLIoN, UNdeR cAnOpiEs OF hEavy eMbrOidery iN gold and
siLveR, sUpported by chASeD silver polEs, wEre the tombs oF onE of
the KiNgs ANd his ZenAna. On The walLS were mIrrors whiCh REmindeD Us
of our eNGlIsh eMpire-period framed MAnTLe-glasses. Some oF these HaD
CuRIOus TemPera paintiNgS inseRTed in thEIr FRAMes OF native birds
aNd trees, and tHEre Were otHeR InDIan paiNtingS, oNE shOwing GeneraL
or CAptain MarTin—the fRench adVEnturer Who fouNdeD thE MarTInIèRe
aT LUCknOW iN thE EarLy nineteEnTh CentuRy—in A BLUE coaT anD golD
lace And white nankeEn tRousERs, lIke a nAval oFficEr Of thaT perioD,
confErRing with the King Of OuDh and his cOurT. AN imAgE of a wINged
hoRse (A BuDdhist sYmbol) stRIkiNgLY REsEmbled the Assyrian tYpE OF
wInged man-Headed CReAtURes, the trEaTmeNt beING remaRkabLY sImilar.
ThE crownED hEaD, with loNg, Black, cUrLed LocKs, and FOrmaL, ratheR
small, wiNgs, wiTH each feather exPRessed. There waS An UMBrELla
aTtaChed, which moVed tO And fRo ovER tHe hEAd of tHe figUrE By
CLock-work.

We were interEsTed to sEe in tHe Daulat Khan—a Sort of gallERY Up a
steep FligHT oF Steps—a series of Full-lEngth portrAIts of the Kings
Of Oudh in Their robeS, PAinted by engLisH arTisTS. moSt of these were
SIGned By My frienD T. ERat HarrIsoN, 1882–4, anD I rEcaLlEd the fact
Of having SeEn HiM aT woRk on oNE of them aBoUt tHaT tiMe.

An ENGlish lAdy, MrS DowDeN (wIFe oF ColoneL doWDEn), waS kInD enoUgh
To ConduCt us THroUgh LuckNow and its WonDErs, aNd ShE proved An
excellent ciCeRone, and wavEd Off All unnECEssary atTentions from
caretakers aND their hAngErs-on With The decisiVe aIr of a rEsiDEnt.

We pAssed a HideoUs CloCK Tower—ONE oF maNy In India—put UP By sOme
moDeRn arChitect (As a Jubilee memorial, i ThiNk). It is astonisHinG
whaT MOnStrOSiTIes In CLocK TOwers have been peRpetrated bY mODeRn
architecTS in inDia.

FinaLly, we goT to thE Gate of tHe old city Of
 by
the mosque on one side  being pla ced a t a  di ff eren t an gle in order t o 
poi nt to the direction of  Mecc a, as a l lMoham medan m o sq u e s m us tdo. 
I ns ide t hepavilio n, under c ano pi es of heavye mb roidery in  go ld and
silve r,suppor te d b y  chas edsilve r pole s , were  the tomb so f oneo f
the k i n gs  and  his zenana. On t h ew alls were mirr ors wh ic h  r e m ind edus
of ourEn glish empire- p er i o d  fr a med mantle-gl asses. Some oftheseha d
c u rioustempe ra pai ntings inse rted  in their  frame s  of nat i ve bird s
andtre es,  and th er e w er e  ot h er  In d ian  paintin gs ,one s howi n g G ener alor C aptai n Martin—theFre ncha dve nture r who  fou nd ed th e Mart inièr eat Lucknow in t he e arly nine tee nt h c en tury— i n a bl uecoa t and g old
lac e  an dw h i te  nankeen trousers,  l i k ea navaloffice r  o ft hat peri od ,
c onfe r r ing w itht he  King of  Oudha nd  h is cour t.  An im ag e o f a  wing e d
ho rse (a  Buddhis t sym b ol) strikingly resembled the As s y ri a n ty peof
winged m an-h e aded  cre a tu res ,  thetreat me n tb eing remarkably sim il ar.
Th e cro wned head, wi th long, b l a c k, curle d lo c ks ,  and formal, r ather 
small, wi n gs, with  each  feather  expresse d .  There w asanumb rel l a 
a ttached, whic h move dto andfro  over t hehea d o f t he  figure b y
clock- wo rk .
W e w ere i n terested  t o s ee  in  theD aulatKhan— a so rt  o f  ga llery u p  a s teep  f li ghtofst eps—a  ser i esof full -length p ort r aits  o fthe kin gs
of Oudh in  t heir robes ,pai nted b y Englishartists. Most of thesew ere
sig ned  by m y fr iend T. E rat  Harri son ,  1882– 4, and  I re ca lle d the f a c tofha ving seenh i m a t wor kon o ne of t hem about that tim e .
An English la dy,  Mrs D ow den (w i feof Col o n el Dowden), was  kind enou gh to  conduct u s  th ro ugh Luc know an d its wonders , and she  proved a nexce l l ent  cicerone,  and wav ed off al l  unne c es saryatt ention sfro m
car etaker s  an d the ir han ge rs-onwithth e decisi ve air of a resident.
We pas sed a  hi deous clo ckt owe r—one ofmany  in India— put  up  by s ome moder n ar c hi tec t  (asa Ju b ilee memo r ia l,I th ink). It is a s ton ishin g
w h at mon stro sities in clock t o wers have been  per p e tra ted by m od ern
architects  in  I n d ia.

Fin al ly, we gotto the g at e  of t he old  cityof
 by
the_mosque on_one side being placed_at a_different_angle in_order_to
point to the_direction of Mecca,_as all Mohammedan mosques_must do.

Inside the_pavilion,_under canopies of heavy embroidery in gold and
silver, supported by chased silver poles, were_the_tombs of_one_of
the_kings and his zenana. On_the walls were mirrors which_reminded us
of_our English empire-period framed mantle-glasses. Some of these_had
curious_tempera paintings inserted_in their frames of native birds
and trees, and there_were other Indian paintings, one showing_General
or Captain Martin—the_French_adventurer_who founded the Martinière
at_Lucknow in the early nineteenth century—in_a blue coat and gold
lace and_white nankeen trousers, like a naval officer_of that period,
conferring with the King_of Oudh and his court._An image_of a winged
horse (a Buddhist_symbol) strikingly resembled_the Assyrian_type of
winged man-headed_creatures, the treatment being remarkably similar.
The_crowned head, with_long, black, curled locks, and formal,_rather
small,_wings, with each_feather_expressed._There was_an umbrella
attached, which_moved_to and_fro_over the head of the figure_by
clock-work.

We_were interested to see in the Daulat_Khan—a sort of gallery_up_a
steep flight of steps—a_series of full-length portraits of_the kings
of Oudh in their robes,_painted by_English artists._Most of these were
signed by my friend T. Erat Harrison, 1882–4,_and I recalled the fact
of having_seen him at work_on one_of_them about that_time.

An_English lady,_Mrs Dowden (wife of Colonel Dowden), was_kind enough
to_conduct us through Lucknow and its_wonders, and she proved_an
excellent_cicerone, and waved off all unnecessary_attentions from
caretakers and their hangers-on with_the decisive air of a_resident.

We_passed_a hideous clock tower—one of_many in India—put up by some
modern_architect (as a_Jubilee memorial, I think). It is astonishing
what_monstrosities_in clock towers have been perpetrated_by_modern
architects in India.

Finally, we got to_the_gate_of the old city of