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It now houses not the Maharajas but a Museum of artifacts of their past lives: arms, paintings, manuscripts, carpets, and textiles. The pieces that most attract the visitors’ attention are two bowls in the Diwan-i- Khas.
The ceremonial Retainers (Guards) at the Palace, with their white pants, blue long coat, and red turban invited me to have my picture taken with them.
Facing the Hall was a sunken garden in the Mughal style of charbagh (Persian for four-sided garden).
Their lodge Jal Mahal (Water Palace) sits there in disrepair with only an illusion of distant romance retained in the elegant symmetry of its architecture.
... but the water fountain that once ran was now dry. The niches with carvings of musical instruments marked it as the music room.
That is a fate that seemed to await the much larger but half-empty Man Sagar Lake down the road, which the Maharajas once used for duck-shooting.
The Raja himself had more opulent accommodations in the Fort. We entered through the ornate Ganesh Pol (Gate) which had a small painting of Ganesh on the top.
In this Hall the Raja received his special guests, including dancing girls who entertained, holding candles which made especially pleasing reflections off the mirrors. Outside, the marble walls were covered with masterful drawings of flowers.
Here was the Diwan-i- Khas (Persian for Hall of Private Audience) built by Raja Jai Singh I, which because of the tiny mirrors on its ceiling and walls is also called Sheesh Mahal (Persian for Hall of Mirrors).
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