4.  The meaning of this sentence is obscure.

5.  Corresponding to A.D. 1753-4.  In the original edition the date is misprinted A.D. 1167.

6.  The tomb of Mansur Ali Khan is better known as that of Safdar Jang, which was the honorary title of the noble over whom the edifice was raised.  He was the wazir, or chief minister, of the Emperor Ahmad Shah from 1748 to 1752, and was practically King of Oudh, where he had succeeded to the power of his father-in-law, the well-known Saadat Khan:  Safdar Jang died in A.D. 1754 and was succeeded in Oudh by his son Shuja-ud-daula.

The author’s praise of the beauty of Safdar Jang’s tomb will seem extravagant to most critics.  In the editor’s judgement the building is a very poor attempt to imitate the inimitable Taj.  Fergusson (ed. 1910, vol. ii, p. 324, pl. xxxiv) gives it the qualified praise that ’it looks grand and imposing at a distance, but it will not bear close inspection’.  See Fanshawe, p. 246 and plate.  In the original edition a coloured plate of this mausoleum is given.

7.  Nizam-ud-din was the disciple of Farid-ud-din Ganj Shakar, so called from his look being sufficient to convert cods of earth into lumps of sugar.  Farid was the disciple of Kutb-ud-din of Old Delhi, who was the disciple of Muin-ud-din of Ajmer, the greatest of all their saints. [W.  H. S.] Muin-ud-din died A.D. 1236.  For further particulars of the three saints see Beale, Oriental Biographical Dictionary, ed.  Keene, 1894.  Dr. Horn (Ep.  Ind. ii, 145 n., 426 n.) gives information about the Persian biographies of Nizam-ud-din and other Chishti saints.

8.  For the personal history of Nizam-ud-din see the last preceding chapter, [13].  His tomb is situated in a kind of cemetery, which also contains the tombs of the poet Khusru, the Princess Jahanara, and the Emperor Muhammad Shah, which will be noticed presently.  Fanshawe (p. 236) gives a plan of the enclosure.  Nizam-ud-din’s tomb ’has a very graceful appearance, and is surrounded by a verandah of white marble, while a cut screen encloses the sarcophagus, which is always covered with a cloth.  Round the gravestone runs a carved wooden guard, and from the four corners rise stone pillars draped with cloth, which support an angular wooden frame-work, and which has something the appearance of a canopy to a bed.  Below this wooden canopy there is stretched a cloth of green and red, much the worse for wear.  The interior of the tomb is covered with painted figures in Arabic, and at the head of the grave is a stand with a Koran.  The marble screen is very richly cut, and the roof of the arcade-like verandah is finely painted in a flower pattern.  Altogether there is a quaint look about the building which cannot fail to strike any one.  A good deal of money has at various times been spent on this tomb; the dome was added to the roof in Akbar’s time by Muhammad Imam-ud-din Hasan, and in the reign of Shah Jahan (A.D. 1628 [sic., leg. 1627]-58) the whole building was put into thorough repair. . . .  The tomb is in the village of Ghyaspur, and is reached after passing through the ‘Chaunsath Khambha’. (Harcourt, The New Guide to Delhi (1866), p. 107.)