In Humayun’s Tomb there was no calligraphy, sandstone and marble were used instead of only marble, and blue tiles instead of precious stones.
The dome, supported on squinches, which roofs the central hall, gave the building "an imposing exterior height but kept the ceiling of the central hall in proportion with the interior heights...." -- Archeological Survey of India’ Humayun’s Tomb and Adjacent Monuments (pp. 41-43).
The lobbies that dominate the exterior of the Tomb conform essentially to “the three-fold scheme characteristic of Persian architecture, the great central arches being flanked by a smaller but emphatic arch in each wing.”
In Humayun’s Tomb the Persian model of the building was modified above its wings and portals by the Mughal chattries which are small umbrella-like pavilions. These kiosk-like Hindu elements diversified the rigid lines of the building.
Hamida Banu Begum, who had accompanied Humayun into exile in Iran, was especially fond of Persian architecture and arts. As architect for Humayun’s Tomb she hired Mirak Mirza Ghiyas who was of Persian descent. He employed Persian artisans and craftsmen who were housed in an area that has since been misnamed Arab Serai.
Called Humayun’s Tomb, it is the mausoleum built by his wife, Hamida Banu Begum, several years after the death of the Mughal Emperor who had been able to regain his throne in Delhi in 1555 with the help of 12,000 cavalry given to him by the Iranian Shah Tahmasp I.
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