Moving west to the adjacent structures, and passing through the foundation remains of Paien Bagh structures you will notice a distinctive cuboid structure with an elevated floor and topped by a ribbed cupola. This is not a Mughal building but a Sikh Period mandir.

The passage leads to the most important cluster of buildings which together make up the celebrated Shah Burj built entirely by Shahjahan.

The Royal Tower is the most well documented group of buildings in the Fort. The controversy regarding the authorship of this tower—also referred to as Mussaman Burj (or the octagonal tower) was laid to rest by Moulvi Nur Bakhsh in his writings in 1902-3, when he concluded that the Shah Burj of Shahjahan mentioned in the inscription on the Hathi Pol Gateway was none other than the Sikh-appellated Mussaman Burj. Hathi Pol is the same impressive gateway that you passed through when you entered through the British Period 'postern' gate, and is part of the Pictured Wall described at the beginning of this rahguzar.

This reception court of the Royal Tower was designed in a manner that made it easily accessible on one hand from the imperial zone in the east of the fort (the route that we have followed) and on the other hand from the Hathi Pol situated on the west through a twisted flight of wide steps. The Hathi Pol entry facilitated secluded entry directly into the imperial zone of the fort—the imperial family arriving in sumptuous hoiodahs atop caparisoned elephants.

Reception Court

The first part of the group of buildings consists of the reception court. Although few chambers with arched alcove frontages are now extant, the once elaborate architectural perimeter of the court can be gauged. The remains of foundations also give an indication of a cloistered space, framed on all sides by chambers and punctured by passages or gateways. From an imagined reconstruction it is evident that an entrance provided convenient access from the Paien Bagh or the zenana garden into Shah Burj's Reception Court.

Ranjit Singh's Athdara

The court is dominated by the Gor Darwaza, a gateway which leads from the reception court into the Royal Tower Forecourt. The porch-like gateway—a porte cochere—with a simple cusped arch on the south side, incorporates alcoves for sitting comfortably in the shade provided by its vaulted roof. The gateway arch on the north side is lined with white marble. Within the cells bordering the south edge of the court is tucked away a small mosque, presently inaccessible, thought to be for the use of the imperial zenana; however, this could not be established with any certainty.

The eastern periphery of the forecourt is punctuated by the Kala Burj, described earlier. However, the eastern periphery is largely a blank wall today distinguished by three niches framed by cusped arches. Worth inspecting is the central one accented by a carved marble chini khana sawan bhadoon similar to the one found in Shahjahan's Shalamar Gardens.

There is hardly any evidence of a structure that might once have dominated the central part of the northern periphery, considering that it must have been a choice location in view of the scenery beyond. Today there is a non descript parapet defining the northern edge.

It is the western periphery, beyond which is situated the Shah Burj, that today dominates the forecourt. This is the Athdara—eight doorways as the name implies—constructed by Ranjit Singh, and used by him as kachahri or court of justice. It is an interesting structure, very much in the Mughal architectural tradition, that was built by the Sikh ruler. From our researches it is clear that most elements of the Athdara in fact belonged to the Shah Burj structures which were removed and reused to erect this sumptuous pavilion-an object of interest to 19th century European artists.

The Royal Tower (Shah Burj) Quadrangle

As you climb up an undistinguished ramp located on the west next to the Athdara, you arrive in Shahjahan's sumptuous Shah Burj, more than 6' above the forecourt floor level. As you step into the paved chahar bagh—in contrast to the usual landscaped paradise garden—you have arrived in the midst of the most famous of structures in the Mughal Fort.

From the chronicles it is evident that the original semi-octagonal footprint of the royal tower, jutting out from the face of the north fortification wall, was devised by Jahangir (its octagonal shape leading to the Sikh appellation Mussaman Burj). The chronicles informed us that the foundations and lower portions of the subterranean chambers were constructed in the 19th year of Jahnagir's rule (1624).

However, when Shahjahan became emperor and reviewed the designs—and we know how deeply attached Shahjahan was to Lahore, having been born and brought up there during the early years of his life—he ordered the raising of the floor level, and this is the reason for its higher floor level compared to that of the adjacent forecourt. It was Yaminuddawla, the trusted noble of Shahjahan (also his father-in-law) who then laid before the emperor "several plans which the masters like Sinmar had made in consultation with him [Yaminuddawla]."

It was -Mamur Khan's designs (the architect who was much favoured by Jahangir), that were selected. This was fortuitous, since Mamur Khan had worked extensively on the Lahore palace and is likely to have been instrumental in the design and execution of the Pictured Wall. Thus he was able to bring a measure of uniformity and compatibility to the whole complex along with the continuity of the spectacular Pictured Wall—the tile mosaic mural on the fortifi- cation wall encircling the northern and western aspect discussed at the beginning of this rahguzar.

While other quadrangles that we have visited are designed with the parterres of the chahar bagh, you will find the Shah Burj Quad fully paved. The pattern on the floor of black marble and a variegated marble known as sang-i-Maryam, also referred to as sang-i-abri, is particularly interesting. The paradisical imagery is embodied in a perfectly square 131'xl31' courtyard, its subdivision attained by the four narrow watercourses. A large water reservoir—an outer square of 54'x54' with an inner circle dominates the centre.

Instead of the natural vegetation found in usual chahar bagh (four-garden style), imagery based on floral themes—guldastas (bouquets), bunches of flowers, flowers in vases—embellishes the facades of surrounding buildings, recreating the imagery of the paradisical chahar bagh.

A causeway leads to the central mahtabi or platform which could accommodate only 'two royal seats'—a much scaled down version of the one that is seen in Jahangir's Quadrangle.

The Shah Burj was always considered the most exclusive of the areas due to its importance in conducting business of state and the fact that only a select few were allowed access to it. The Shah Burj was the exclusive preserve of the Mughal emperor and princes of the blood, and even those holding the exalted office of prime minister were allowed entry on only rare occasions.

The Shah Burj was the "favourite abode" of Ranjit Singh, and suffered the greatest impact of the Sikh rule, when the royal tower's skyline was "encumbered with a curious medley of structures." Ranjit Singh called it "the palace" and used it to impress his foreign visitors. It is in the Shish Mahal that he constantly displayed his prize possession, the Kohinoor diamond, and arranged "grand entertainments" for his foreign visitors—Alexander Burnes and Sir Henry Fane being among them—when "nautching, drinking and fireworks in the room fitted with small mirrors" would be arranged.

After the annexation of the Punjab by the British, it was in the Shish Mahal that the sovereignty of the Punjab, along with the fabulous Kohinoor diamond, was passed into the hands of the British.

Shish Mahal

As you turn right at the entrance, you are overawed by the spectacular Shish Mahal commanding the north aspect. This is the famed 'Palace of Mirrors', a comparatively recent name given to the building because of the use of "a mosaic of glass inlaid with gypsum" for its decoration

The Shish Mahal is composed of several chambers and projects out in the form of a semi-octagon from the general alignment of the fortification called the Pictured Wall.

The most impressive part of this structure is the central aiwan (hall) which is of handsome proportions rising to two-storey height. Its white marble arcade composed of sculpted shash-hilali (6-crescent) arches, and the cusped profile of engrailed spandrels is outlined with a delicate line of incised marble inlay.

The Shahjahani historian Lahauri refers to its "twelve pillars of marble" each in fact consisting of four sets of double columns and two sets of respond engaged (attached) double columns, employing classical Shahjahani order. The profiled column bases are worth examining, as is their elegant detailing—they represent the best of Shahjahani pietra dura.

The aiwan's interior is eulogized by the historian Lahauri in extravagant terms: "From the intermingling of colours in this sky-reaching structure and lofty mansion spring adorns the cheeks of tulip and the face of the jasmine."

Unfortunately, tawdry dabbling by later rulers and custodians has resulted in the addition of 19th century porcelain blue and pottery shards, the whole overwrought with mirrors and discordant

Hindu-mythological frescoes. Ph. Vogel relates how the young Dulip Singh proudly pointed out his own handiwork in the fresco painting. Today it is difficult to distinguish the original Mughal portions of the ceiling in view of the various structural problems and subsequent repairs.

Flanking the white marble aiwan are the 2-storey west and east 'Paradise Halls' constructed in red stone. Although today shorn of plaster, keeping Shahjahan's preference in mind, it is more than likely that the red stone was covered with the finely rubbed patyali plaster, which would have made the whole facade white. The seh-dara unit (first noticed in Akbar's suites in Jahangir's Quadrangle) defines the frontage, but is executed in an exceedingly refined ensemble by the Shahjahani architect compared to the earlier structure built by Akbar. The internal walls of the ground floor structures were so elaborately treated that Mughal chronicler Lahauri gifted them with the name 'paradise-like halls'.

Today, you will find amateurish fresco decoration on the ground floor walls of the east dalan. The west dalan, is in a better state of preservation and carries gilt markings. In both cases the flat ceilings decorated with wood fretwork in a geometric pattern are well executed. A similar treatment and more elaborate fresco work is noticeable on the first floor of the paradise halls, but they are not open to the general public.

Walking through the lofty cusped archway of the Shish Mahal aiwan you enter the Shish Mahal Tambi Khana in the rear (north)—a belvedere which once provided a spectacular view of the river Ravi. The north aspect of this 'open-fronted summerhouse' sports an echo of the cusped arch framing within its deep alcove an elegant white marble fretwork jali, within which are set three viewing windows, suitably decorated for the viewing pleasure of the imperial entourage. From here could be surveyed the river scenery and gardens beyond, along with animal fights which were a great source of entertainment. You will find the ceiling of the tanibi khana as decorative as that of the Shish Mahal aiwan.

The two sides of the tambi khana to the north are bordered with east and west 'octagonal chambers' each sporting a domed ceiling. It is interesting to note the construction of corner squinches with mnqarnas (stalactite) hoods which are also decorated with mirrorwork.

The octagonal chambers on either side provide access to a 'fine hall', each with splayed frontages facing northwest and north east. These halls, which appear in the form of deepset alcoves when seen from the north, have finely Grafted marble fretwork railings. No doubt these balcony-like halls provided the possibility of enjoying the entertainment below by the omarah accompanying the emperor, who could stand in full view of the general public gathered to watch the elephant fights in the river promenade, directly below the fortification wall of the Shah Burj.

The internal walls as well as ceilings carry florid mirror work and fresco of uncertain origin. The Mughal partiality for water as a cooling device and for controlling the environment is evident from the presence of three shallow basins extant in the central arched bay of the west balcony. These consist of two circles with a central oval hollowed into the floor adjoining the marble handrail.

East and West Dalans

These single-storey dalans, which are placed at right angles to the 'paradise halls' are on the east and west sides of the quadrangle, and are distinguished by the use of seh-dara units similar to those encountered in the paradise halls, and provide an architectural frame to the central Shish Mahal ensemble.

The east dalan is greatly altered with extensive Sikh Period decoration—not surprising since it served as the Sikh ruler Sher Singh's bathing room or hammam.

The internal walls and coved fretwork ceiling of the west dalan located in the north of the quad is profusely decorated with fresco and gilding. The walls camouflaging the seh-dara unit on the west side are a later addition.

Another dalan on the west side is situated to the south of Naulakha Pavilion. It is similarly constructed, though it has gone through some unfortunate and amateur restoration work which has resulted in loss of original evidence. The recent restoration work, done in a hurry to impress the visiting Queen Elizabeth, is also crude in its handling of decorative features.

Naulakha Pavilion

The other structure that can claim to rival the celebrated Shish Mahal is the famed Naulakha Pavilion. Naulakha is probably a Sikh appellation (lit. pavilion costing 9 lakh rupees). This structure is placed at the central axis of the hauz (water reservoir) and is notable for its drooping bangladar roof, and distinctive pietra dura. Although much ravaged and largely robbed of its semi-precious stones in later periods, it is the same pavilion (bangia) of marble that Lahauri describes, "whose mosaics of cornelian coral, and other precious stones," he enthused "excite the emulation of the workshop of Mani" (the Persian artist credited with miraculous power while painting).

Particularly noticeable is the courtly pietra dura in muqarnas capitals (stalactite capitals), abacus and the space between twin-column polyfaceted shafts.

The guldasta (bouquet) and other floral compositions carried in the marble pietra dura dadoes and floral-interlacement borders, both externally and internally, reinforce the paradisical chahar bagh theme of the courtyard.

The central white marble pierced screen on the west aspect, incorporating delicate floral tracery, is an almost exact replica of the one in the Shish Mahal Tambi Khana. Just as the tambi khana was for select royal use, surely the arrangement of similar three viewing windows placed in this fretwork screen points towards similar usage on the west. It is likely that the roof of this bangia was similar to the dazzling 'gilt copper plates' of Agra's Bangla-e-Darshan, a similarly constructed building with bangladar roof.

Although sometimes the Naulakha Pavilion is thought to be the work of Aurangzeb, in view of Moulvi Nur Bakhsh's translation of Lahauri's text it is clear that the pavilion was part of the original Shahjahani ensemble, and in fact the piece de resistance of the Shah Burj.

South Dalans

Bordering the southern periphery of the quadrangle you will find comparatively simple chambers, presenting a disparate facade compared to the transparent arcaded outlook found in its other structures.

This is not surprising since, even though most of the Shah Burj structures were not greatly affected, the south dalans were put to various functions by the Sikhs and later by the British, along with robbing them of their architectural elements for re-use in the Athdara. The chambers in the central portion were greatly altered in order to house a collection of ancient, mostly Sikh Period weapons.

The only original elements in two corner dalans that can be identified are the seh-daras found in other dalans as well. The central sitting room mentioned by Lahauri is identifiable due to the extant waterfall (chaddar) discharging into a scalloped pond set within the floor, amplifying the quad's chahar bagh paradisical image. This particular sitting place provided a wonderful view not only of the hauz, and its mahtabi (its central platform) but from here the impressive facade of the Shish Mahal could also be viewed in its full glory.

Although most of the original features are no longer evident, the waterfall's coloured marble inlay in a chevron pattern is a reminder of the imagery and enhancement of play of water that the Mughal builders excelled in.

According to Lahauri there was a 'blessed khwabgah' along with the south dalans, which was so well decorated as to be "a model of the world-exhibiting cup (the cup made by Kai Khusrau, the King of Persia and which he used to predict future events). That chamber is no longer traceable, but the fact that a royal bedchamber was part of the Shah Burj reinforces its place as among the most significant of all fort structures.

Retracing your footsteps you can now descend the elephant steps and arrive once again at the famous Hathi Pol—the starting point of the tour.

Diwan-e-Aam Quadrangle

Moti Masjid Quadrangle

Jahangir's Quadrangle

Shahjahan's Quadrangle

Paien Bagh & Khilwat Khana Quadrangle

Shah Burj or Royal Tower