The Taj Mahal, Agra, 24th January 1870 Nicholas Chevalier (1828-1902)

Here we observe a drawing depicting a monumental structure dominating a carefully composed landscape. The central focus is a large, domed building with intricate detailing around its arched entrances and windows. This edifice appears elevated on a platform, approached by a long, symmetrical water feature – a canal or reflecting pool – that leads the eye directly to it. Fountains are visible within this water body, adding a sense of movement and refinement.
The surrounding environment is rendered with looser lines, suggesting dense vegetation – likely trees and shrubs – framing the structure on either side. In the background, smaller minarets rise above the foliage, hinting at an expansive complex beyond what is immediately visible. A group of figures are positioned near the base of the platform, their scale emphasizing the grandeur of the building itself.
The artist’s technique utilizes a range of tonal values achieved through varying line density and hatching. The precision in depicting the central structure contrasts with the more gestural approach to the surrounding landscape, creating a visual hierarchy that prioritizes the architectural subject. There is an evident emphasis on symmetry and perspective, characteristic of formal garden design and architectural representation prevalent during the period.
The drawing’s subdued palette – rendered primarily in shades of brown and grey – lends it a sense of quiet contemplation. The presence of handwritten notations in the lower corners, including what appears to be a date (24th January 1870) and a signature, suggests this is a preparatory sketch or study undertaken by an individual present at the location. This contextual detail implies a personal observation and documentation of the scene rather than a purely imaginative creation. The drawing’s style indicates it was likely produced as part of a larger project documenting architectural landmarks in India during the colonial era.