There would be nothing prima facie improbable that Akbar should have caused some events of Biblical history to be painted on the walls of his palaces; but on the other hand, there is nothing whatever to connect this fresco with the Annunciation.  The winged figures here represented are of the type commonly found in paintings of stories from Persian mythology.

Perhaps the most interesting of all the paintings is a portrait in a panel in one of the rooms.  One would like to know whether this was the lady of the house; but there seems to be no tradition connected with it.

Judging from the style of the frescoes, it would seem probable that this was not the residence of Mariam Zamani, but of one of Akbar’s first two wives, whose connections were mostly with Persia.

Jodh Bai’s Palace.

Though “Miriam’s House” is generally regarded as the abode of Mariam Zamani, there is a great deal to support the view that the spacious palace known as Jodh Bai’s Mahal, or Jahangiri Mahal, was really her residence.  It is undoubtedly one of the oldest buildings in Fatehpur.

We know that Akbar went there on Mariam’s account; and, after Jahangir’s birth, Akbar’s first care would be to build a palace for the mother and her child, his long-wished-for heir.  Mariam was a Hindu, and this palace in all its construction and nearly all its ornamentation belongs to the Hindu and Jaina styles of Mariam’s native country, Rajputana.  It even contains a Hindu temple. [15] It is also the most important of all the palaces, and Mariam, as mother of the heir-apparent, would take precedence of all the other wives.

On the left of the entrance is a small guard-house.  A simple but finely proportioned gateway leads through a vestibule into the inner quadrangle.  The style of the whole palace is much less ornate than the other zanana buildings, but it is always dignified and in excellent taste.  It must be remembered that the severity of the architectural design was relieved by bright colouring and rich purdahs, which were used to secure privacy for the ladies of the zanana and to diminish the glare of the sunlight.

Archaeologically its construction and ornamentation are very interesting.  Many of the details are of Jain origin, and of the same type as the mixed Jain and Saracenic style, which was being developed about the same period in Gujarat.  The arrangements of the palace are shown in the annexed plan.  One of the most interesting features is the Hawa Mahal, a pavilion projecting from the north side, enclosed by pierced stone screens.  Here the ladies could enjoy the cool breezes and the view of the lake with the distant hills beyond, without being exposed to the vulgar gaze.  The palace was formerly connected with Akbar’s private apartments by a covered way, supported on pillars, near the entrance.  This was removed some years ago.  Another private passage led from the Hawa Mahal to the zanana garden opposite, and, probably, from thence right down to the tower known as the Hiran Minar.