CHAP. I. INTRODUCTORY. 189 similar to the parent style at Delhi than the two last-named styles, and wanting, consequently, in local individuality. 6. Bengal was early erected into a separate kingdom in A.D. 1203 more or less independent of the central power ; and during its continuance till A.D. 1573 the capitals, Gaur and Mdldd, were adorned with many splendid edifices. Generally these were in brick, and are now so overgrown by jungle as to be either ruined or nearly invisible. They are singularly picturesque, however, and display all the features of a strongly-marked individuality of style. These six divisions are probably sufficient to characterise the Muhammadan styles north of the Narbada. To the south of that river there are three well-marked styles. 7. First that of the Bahmani dynasty. First at Kulbarga, A.D. 1347, and afterwards at Bidar, A.D. 1426, they adorned their capitals with edifices of great magnificence and well- marked individuality, before they were absorbed, in A.D. I5 2 5> in the great Mughal empire. 8. Next to these was the still more celebrated 'Adil Shahi dynasty of Bijdpur (A.D. 1490-1660). Their style differed most essentially from all those above enumerated, and was marked by a grandeur of conception and boldness in construc- tion unequalled by any edifices erected in India. 9. The third southern style is that of the Qutb Shahi dynasty of Golkonda, A.D. 1512-1672. Their tombs are splendid, and form one of the most striking groups in India, but show evident signs of a decadence that was too surely invading art at the age when they were erected. 10. One by one all these brilliant individualities were absorbed in the great Mughal empire, founded by Babar, A.D. 1526, and which, though practically perishing on the death of Aurangzib, A.D. 1707, may be considered as existing till the middle of the i8th century, A.D. 1750. It is to this dynasty that Agra, Delhi, and most of the towns in northern India owe their most splendid edifices. 11. Before leaving this branch of the subject it may be expedient to enumerate the style of Moslim art existing in Sindh. Practically, it is Persian both in its form and the style of decoration, and must have existed in this province from a very ancient time. All the examples known of it, however, are comparatively modern, and bring us back, curiously enough, to the neighbourhood of Ghaznt, from which we started in our enumeration. 12. Leaving these, which may be called the true styles of Muhammadan architecture, we have two which may be designated as the bastard styles. The first of these is that of
