45 Best Sights in Side Trips from Delhi, India

A succession of Mughal emperors lived within the red sandstone walls of this World Heritage site, and it was from here that they governed the country. As with similar Mughal facilities in Delhi and Lahore, the word "fort" is misleading: the complex is really a fortified palace, containing royal apartments, mosques, assembly halls, a dungeon, and the largest state treasury and mint—the entire cityscape of an imperial capital. A massive wall 2½ km (1½ miles) long and 69 feet high surrounds the fort's roughly triangular shape. With the Yamuna River running at its base, the fort was also protected by a moat and another wall, presenting a daunting barrier to anyone hoping to access the treasures within.

The structure was originally a brick fort, and Ibrahim Lodi held it for nine years until he was defeated and killed in the battle of Panipat in 1526. The Mughals captured the fort along with masses of treasure, which included one of the most famous gems in the world, the Koh-i-Noor diamond. The emperor Babur stayed in the fort in the palace of Ibrahim, while Humayun was crowned here in 1530. Emperor Akbar decided to make it his capital when he arrived in Agra in 1558. He rebuilt it with red sandstone from the Barauli area in Rajasthan, and the whole process took eight years. The architecture of the current fort reflects the collective creative brilliance of Akbar, his son Jahangir, and grandson Shah Jahan.

The fort's entrance is accessible through the Amar Singh Gate (also called the Lahore Gate, for the city in modern-day Pakistan that it faces). It was named for Amar Singh Rathore, a legendary general who served the Mughals. North of this entrance sits the fort's largest private residence, the Jahangiri Mahal, built by Jahangir as a harem, mainly for his Rajput wives. (Akbar's own palace, closer to the entrance, is in ruins.) Measuring 250 feet by 300 feet, the Jahangiri Mahal juxtaposes jarokhas (balconies) and other elements of Hindu architecture with pointed arches and other Central Asian influences imported by the Mughals. The palace's central court is lined with two-story facades bearing remnants of the rich, gilded decoration that once covered much of the structure.

After Jahangir's death in 1628, Shah Jahan assumed the throne and started his own buildings inside the fort, often tearing down those built by his father and grandfather and adding marble decorations (it is said that he was partial to the material). The Anguri Bagh (Grape Arbor) shows the outlines of a geometric garden built around delicate water channels and chutes. The 1637 Khas Mahal (Private Palace) is an early masterpiece of Shah Jahan's craftsmen. The central pavilion, made of white marble, follows the classic Mughal pattern: three arches on each side, five in front, and two turrets rising out of the roof. Of the two flanking pavilions where Shah Jahan's two daughters resided, one is of white marble and was supposedly decorated with gold leaf; the other is made of red stone. The arched roofs of all three pavilions are stone interpretations of the bamboo architecture of Bengal. In one part of the Khas Mahal a staircase leads down to the palace's "air-conditioned" quarters—cool underground rooms that were used in summer. It's famous for its paintings on marble.

The octagonal tower of the Mussaman Burj has fine inlay work and a splendid view down the river to the Taj Mahal. This is where Shah Jahan is said to have spent the last seven years of his life, imprisoned by his son Aurangzeb but still able to look out on his greatest monument, the Taj Mahal. He may have built the tower for his wife Mumtaz Mahal (for whom he also built the Taj Mahal). On the northeastern end of the Khas Mahal courtyard stands the Sheesh Mahal (Palace of Mirrors), built in 1637 as a bath for the private palace and dressing room for the harem. Each of the two chambers contained a bathing tank fed by marble channels.

The emperor received foreign ambassadors and other dignitaries in the Diwan-i-Khas (Hall of Private Audience), built by Shah Jahan in 1636–37. Outside, the marble throne terrace holds a pair of black and white thrones. The black throne, carved from a single block of marble, overlooks the Yamuna and, according to the inscription, was used by Shah Jahan; the white throne is made of several marble blocks and was his father's seat of power. Both thrones face the Machhi Bhavan, an enclosure of fountains and shallow pools, and a number of imperial offices.

To the empire's citizens and to the European emissaries who came to see these powerful monarchs, the most impressive part of the fort was the Diwan-i-Am (Hall of Public Audience), set within a large quadrangle. This huge, low structure rests on a 4-foot platform, its nine cusped Mughal arches held up by rows of slender supporting pillars. Here the emperor sat and dispensed justice to his subjects, sitting on the legendary Peacock Throne, now lost.

Northeast of the Diwan-i-Khas is the Nagina Masjid, a private mosque raised by Shah Jahan for the women of his harem. Made of white marble and walled in on three sides, it has typical cusped arches, a marble courtyard, and three graceful domes. While in the Nagina Masjid, royal ladies could buy beautiful items from tradesmen who set up a temporary bazaar for them in front of its balcony. Nearby is the lovely Moti Masjid, a perfectly proportioned pearl mosque (moti means pearl) built in white marble by Shah Jahan.

The quintessential Varanasi experience is a boat ride along the Ganges. The most popular place to hire a boat is at Dashashvamedh Ghat—essentially in the middle of Varanasi, and convenient if you're staying near the water—or at Assi Ghat, the southernmost end of the ghats. It's a good idea to arrange your boat trip the afternoon before, then get up and meet your boatmen early the next morning so that you can be out on the water as the sun comes up. Rates are negotiable, but it should cost about Rs. 125 per person for an hour, or Rs. 500 for a private boat. If you are traveling to Varanasi between July and September, check with the Ministry of Tourism Office first, as boat rides are sometimes prohibited during monsoons for safety reasons. Probably the most popular routes are any that take you past Manikarnika, the main "burning" ghat, though the people and their rituals might be more sightworthy than the ghats themselves.

These are some of the landmarks that you'll see along the way.

Panchganga Ghat. Down below Aurangzeb's Mosque, this is an important bathing point. It's the mythical meeting place of the five sacred rivers, and images of the river goddesses are displayed here.

Aurangzeb's Mosque. The Alamgir Mosque, known as Aurangzeb's Mosque, was built by the Mughal emperor Aurangzeb over the remains of the Hindu temple that had previously stood here—when he conquered Banaras, he had ordered the destruction of all temples. The mosque's dramatic vantage point overlooking the Ganges gives it a prominent place on the skyline. The mosque is closed to non-Muslims.

Manikarnika Ghat. This is Varanasi's main burning ghat. At the top of Manikarnika's steps is a small, deep pool, or kund, said to have been dug by Vishnu at the dawn of creation and thus to be the first tirtha—literally, "ford," and figuratively a place of sacred bathing. Shiva is said to have lost a jeweled earring (manikarnika) as he trembled in awe before this place, one of the holiest sites in Varanasi.

Kashi Vishvanath Temple (Golden Temple). This temple, with its gold-plated spire, is easy to spot on the skyline. It's the most sacred shrine in Varanasi.

Chausath Yogini Temple. Just north of Dashashvamedh Ghat, Chausath Yogini is at the top of a particularly steep set of steps by the ghat of the same name. Originally devoted to a Tantric cult that is also associated with an important ruined temple at Khajuraho, it's now dedicated to Kali (the goddess most popular with Bengalis), known here simply as "Ma"—Mother. The worshippers are mainly white-sari-clad widows from Varanasi's Bengali quarter; in the early morning you'll see them coming for the darshan (vision) of Kali after bathing in the Ganges.

Dashashvamedh Ghat. This is one of the busiest ghats, and a good starting place for a boat ride. Every evening at sunset the Ganga Arti prayer ceremony is performed here, with the steps filling with priests and people praying.

Dhobi Ghat. At this ghat south of Dashashvamedh, dhobis (washer men and women) do early morning laundry by beating it against stones in the river.

Durga Temple (aka Monkey Temple). Inland and a short walk from Assi Ghat, it's recognizable by its multitiered spire.

On the eastern side of the river you can see the Ramnagar Fort and Palace.

Assi Ghat. The southernmost ghat, marking the place where the Assi River and the Ganges meet, has a pipal tree with a lingam.

At roughly the midway point of Varanasi's ghats, this is a convenient and popular spot, always busy with hawkers and pilgrims, and a good place to hire a boat. It's one of the holiest ghats, the site of ancient sacrificial rite: the name literally means "10-horse sacrifice." Ganga Arti is an arti (prayer ceremony) performed at Dashashvamedh Ghat every night at sunset. Priests clad in saffron and white robes blow conch shells and perform a synchronized ritual with diyas (lamps), flowers, and incense. The steps fill with people singing Vedic hymns, lighting lamps, and praying along with the priests; if you're out on a boat at this time, you can take in the whole scene without having to deal with the crush on the ghat itself.

The empress Nur Jahan (Jahangir's favorite wife) built this small, gorgeous tomb for her father, Mirza Ghiyas Beg (pronounced Baig), a Persian nobleman who became Jahangir's chief minister. Beg was also the grandfather of Mumtaz Mahal, the wife of the emperor Shah Jahan. The monument, one of Agra's loveliest, was supposedly built by workers from Persia. The tomb incorporates a great deal of brown and yellow Persian marble and marks the first use of Persian-style marble inlay in India—both features that would later characterize the style of Shah Jahan. Particularly in its use of intricate marble inlay, this building was a precursor of, and very likely an inspiration for, the Taj Mahal (for this reason it has earned the somewhat goofy nickname of the "Baby Taj"). The roof is arched in the style of Bengali terra-cotta temples, and the minarets are octagonal, much broader than the slender cylinders of the Taj Mahal—in its fine proportions this mausoleum almost equals that masterpiece. Inside, where the elegant decoration continues, the central chamber holds the tombs of Itimad-ud-Daulah and his wife; other relations are buried in adjacent rooms. Most travelers to Agra never see this place, but its beauty and tranquillity are extraordinary, and its well-maintained gardens make it a wonderful place to pause and reflect.

This temple, which lies west of the Lakshmana, is the tallest and most evolved temple in Khajuraho in terms of the blending of architecture and sculpture, and one of the finest in India. Probably built around 1025–50 by King Vidyahara (the greatest of the Chandela kings), it follows the five-shrine design. Its central spire, which towers 102 feet above the platform, is actually made up of 84 subsidiary towers built up in increments. The feeling of ascent is repeated inside, where each succeeding portico rises a step above the previous one, and the inner sanctum is higher still; dedicated to Shiva (Mahadev is another name for Shiva), this inner sanctum houses a marble lingam with a 4-foot circumference. Even the figures on this temple are taller and slimmer than those elsewhere. The rich interior carving includes two beautiful toranas (arched doorways). Outside, three bands of sculpture around the sanctum and transept bring to life a whole galaxy of Hindu gods and goddesses, mithunas, celestial handmaidens, and lions.

The tale of love and loss that supposedly sparked the existence of the Taj Mahal (literally, the "Crown Palace") sometimes seems as incredible as the monument's beauty. It is said that Shah Jahan fell in love with his favorite wife, Arjuman Banu, at first sight, and went on to revere her for her generosity, intelligence, and the 14 children she bore. She became his Mumtaz Mahal (the Exalted of the Palace), and her love for him was apparently just as great—on her deathbed, or so the legend goes, she begged the king to build a monument so beautiful that the world would never forget their love. Five months later, a huge procession brought Mumtaz Mahal's body to Agra, where Shah Jahan began the process of honoring her request.

Indeed, it's difficult to imagine a grander gesture throughout history, but the design, execution, and end result is what truly makes the Taj Mahal a must-see. It took 20,000 laborers 17 years (starting in 1632) to complete the vast tomb of white marble on the banks of the Yamuna River, making it the most stunning example of the elaborate aesthetic world that the Mughals created in India.

The Taj Mahal stands at the end of a large, four-quartered garden, or charbagh, symbolizing paradise, extending about 1,000 feet in each direction from a small central pool. You enter the grounds through a huge sandstone gateway emblazoned with an inlaid Koranic inscription. Ahead, facing the long reflecting pool, the Taj Mahal stands on two bases, one of sandstone and, above it, a marble platform measuring 313 square feet and worked into a chessboard design. A slender marble minaret stands at each corner of the platform, blending so well into the general composition that it's hard to believe each one is 137 feet tall. The minarets were built at a slight tilt away from the tomb so that, in case of an earthquake, they'd fall away from the building. Facing the Taj Mahal from beneath its platform are two majestic sandstone buildings, a mosque on the left and its mirror image (built purely for symmetry) on the right. Behind the tomb, the Yamuna winds along its broad, sandy bed.

The tomb's central archway is deeply recessed, as are the smaller pairs of companion archways along the sides and the beveled corners of the 190-square-foot structure. The Taj Mahal's most extraordinary feature is its onion dome, crowned by a brass finial mounted in a scalloped ornament, which is an inverted Hindu motif of the lotus. The dome uses the Central Asian technique of placing a central inner dome, in this case 81 feet high, inside an outer shell to attain the extraordinary exterior height of 200 feet; between the two is an area nearly the size of the interior hall itself. Raising the dome above the minarets was the builders' great stroke of genius. Large chattras (umbrellalike domes), another feature borrowed from Hindu design, balance the dome.

Inside the mausoleum, the changing light creeps softly in through marble screens that have been chiseled like silver filigree. Look closely at the tiny flowers drawn in inlaid semiprecious stones and the detailed stonework on each petal and leaf. The work is so fine that not even a magnifying glass reveals the tiny breaks between stones, yet a single 1-inch flower on the queen's tomb has 60 pieces. Directly under the marble dome lie the tombs of Mumtaz Mahal and Shah Jahan, surrounded by a jali (latticed) screen carved from a single block of marble, with a design as intricate as lace. In the center of the enclosure, diminishing rectangles lead up to what looks like a coffin; in fact, both Mumtaz Mahal and Shah Jahan are buried in a crypt below these tombs in deference to the Islamic tradition that no one should walk upon their graves. After his death, Shah Jahan was buried next to his wife by his son Aurangzeb, upsetting the perfect symmetry, most likely a cost-cutting measure that forms an ironic postscript to the munificence of Shah Jahan. But it's fitting that the emperor lies in perpetuity next to his favorite wife.

In early morning, the pale rays of the sun give the marble of the Taj Mahal a soft pink luster; at sunset the west side of the monument turns lemon yellow, then pumpkin orange. Once the sun goes down, the marble is pure white against a black sky.

The small Taj Mahal Museum stands near the mosque to the left of the Taj. It holds Mughal memorabilia and provides some historical background to the Taj, as well as paintings of the famous couple, manuscripts, letters, and a display of precious stones used in the construction of the Taj.

The late-11th-century Adinath Temple, a minor shrine, is set in a small walled compound southeast of the Ghantai temple. Its porch and the statue of the Tirthankara (literally, Ford-Maker, a figure who leads others to liberation) Adinatha are modern additions. Built at the beginning of the Chandelas' decline, this temple is relatively small, but the spire and base are richly carved.

Akbar's resting place, in what's now the small town of Sikandra, was begun by the emperor himself in 1602 and completed after his death by Jahangir. Topped with white marble and flanked by graceful minarets, this mausoleum of rough red sandstone sits in a typical Mughal garden called a charbagh—four quadrants separated by waterways. The garden, however, is not well tended, and Jat raiders (who invaded Agra after the fall of the Mughal empire) destroyed much of the gold work that once adorned the tomb, though the British partially restored it. In a domed chamber three stories high, the crypt is inscribed with the 99 names of Allah, plus the phrases Allah-o-Akbar (God is great) at the head and Jalla Jalalahu (Great is His glory) at the foot. It's a charming spot to visit; you'll spot many langurs (long-tailed monkeys) and deer in the gardens. Akbar had originally meant this to be the official resting place for the Mughals, but it didn't turn out that way: only two of his daughters are buried here.

You can actually see the tomb's enormous gateway, topped with bright tilework, from the train from Delhi—look out the left window 10 or 15 minutes before the train is due to reach Agra.

Across the street from Matangesvara Temple, this museum displays exquisite carvings and sculptures that archaeologists have recovered from the temple sites. The three galleries attempt to put the works into context, according to the deities they represent.

No one interested in Indian art should miss this museum on the campus of Banaras Hindu University. The permanent collection includes brocade textiles, excellent Hindu and Buddhist sculptures, and miniature paintings from the courts of the Mughals and the Hindu princes of the Punjab hills. One sculpture with particular power is a 4th-century Gupta-dynasty frieze depicting Krishna (an incarnation of Vishnu) holding up Mt. Govardhan to protect his pastoral comrades from the rain. Have your car or rickshaw wait for you, as transportation can be hard to find on the university's sprawling campus. It's a good idea to go with a guide, since the upkeep of the museum is a bit haphazard and you might need someone who knows his way around and can turn the lights on.

As part of continuing explorations since 1999, the largest temple yet—4 meters longer than the Kandariya Mahadeva—has been partially unearthed. On the Bijamandala you can see multiple tiers of beautifully carved moldings and a Shiva lingam placed on a marble pedestal. Images of Vishnu and Brahma have been found as well, and it also houses a lovely image of Saraswati. Archaeologists surmise that the temple, begun in the late 10th or early 11th century and between the Duladeo and the Chaturbhuj, may never have been completed, judging by the remains and unfinished statues found on the site.

This granite-and-sandstone temple, one of the earliest here (circa 900), is probably misnamed. Although Brahma is a member of the triad of Hinduism's great gods, along with Shiva and Vishnu, he rarely gets a temple to himself. (The only other famous Brahma Temple is at Pushkar, in Rajasthan.) It differs in design from most of the other temples here, particularly in the combination of materials and the shape of its spire. Nearby is Ninora Tal, one of the largest tanks in Khajuraho.

This small 12th-century temple, nearly 3 km (2 miles) south of Duladeo, is often ignored given its distance from the main complex. It has an attractive colonnade entrance and a feeling of verticality thanks to its single spire. Inside, its impressive four-armed image of Vishnu in a sunken sanctum, may be the single most striking piece of sculpture in Khajuraho. The exterior sculpture here is not nearly as impressive as other examples in the area, but the temple is definitely the best place in Khajuraho to watch the sun set. In the north corner there is a rare image of the goddess Narsimhi, who has a lion's face and a human body.

The first monument you come to in Sarnath, on the left-hand side of Ashoka Marg on the way to the park, is this Buddhist shrine that is believed to have originally been a terraced temple during the Gupta period (the 4th to 6th century). Govardhan, the son of Raja Todarmal (who later became a governor under Akbar's rule), built an octagonal tower to commemorate the visit of Emperor Humayun, the father of Emperor Akbar. The event is recorded in Arabic in a stone tablet above the doorway on the north side.

The oldest temple at Khajuraho is set on a granite outcrop southwest of the Shivsagar Tank, a small artificial lake. It may have been built as early as AD 820. It's dedicated to Kali (a form of the goddess Durga, Slayer of Demons), and its name refers to the 64 (chausath) female ascetics (yogini) who serve this fierce goddess in the Hindu pantheon. A little more than half that number have survived. Unlike its counterparts, which are made of pale, warm-hued sandstone, this temple is made of granite.

This temple that's just north of the Devi Jagdamba also resembles it in construction. In honor of the presiding deity, the sun god Surya, the temple faces east, and its cell contains a 5-foot-tall image of Surya complete with the chariot and seven horses that carry him across the sky. Surya also appears above the doorway. In the central niche south of the sanctum is an image of Vishnu with 11 heads; his own face is in the center, and the other heads represent his 10 main incarnations. Sculptural scenes of animal combat, royal processions, masons at work, and joyous dances depict the lavish country life of the Chandelas. It also has an ancient three-story stepped tank (water reservoir).

In late February or early March, Khajuraho holds an annual, weeklong dance festival, set in part against the backdrop of the temples. This superb event attracts some of the country's best performers. Contact the tourist office for more information.

This temple was originally dedicated to Vishnu, as indicated by a prominent sculpture over the sanctum's doorway. It now honors Parvati, Shiva's consort, but because her image is black—a color associated with Kali—it's also known as the Kali Temple. From the inside, its three-shrine design makes the temple appear to be shaped like a cross. The third band of sculpture has a series of erotic mithunas, considered some of the finest sculpture of this type in all of Khajuraho. The ceilings are similar to those in the Kandariya Mahadev, and the three-headed, eight-armed statue of Shiva is one of the best cult images in Khajuraho.

Dappled with geometric and floral ornamentation, the stone-and-brick Dhamekh Stupa is the largest surviving monument in Sarnath, at 143 feet in height and 92 feet in diameter at the base. Built around 500 AD, Dhamekh is thought to mark the place where the Buddha delivered his sermon, though excavations have unearthed the remains of an even earlier stupa of Mauryan bricks of the Gupta period (200 BC). An Ashoka pillar with an edict engraved on it stands near the stupa.

Though built in the customary five-shrine style, this 12th-century temple looks flatter and more massive than most Khajuraho shrines. About 900 yards south of the Eastern Group's Ghantai, it stands near the Khudar rivulet. Probably the last temple built in Khajuraho, the Duladeo lacks the usual ambulatory passage and crowning lotus-shaped finials. Here, too, in this temple dedicated to Shiva, eroticism works its way in, though the amorous figures are discreetly placed.

This 18th-century shrine, dedicated to the goddess Durga, Shiva's consort, stands beside a large, square pool of water due west about 1 km from Assi Ghat. The multilevel spire (five lower ones, and one on top) symbolizes the belief that the five elements of the world (earth, air, water, fire, and ether) merge with the Supreme. The shrine is also called the Monkey Temple because there are monkeys everywhere, and they'll steal anything (keep all food and water out of sight).

The usual starting point for exploring Fatehpur Sikri is the Buland Darwaza (Great Gate) of the Jama Masjid, near the parking lot, but the cluster of hawkers and guides nearby can be unrelenting. If you arrive by car, you can avoid this minor annoyance by asking to be dropped at the subsidiary entrance at the northeastern end of the city, Agra Gate, where the following self-guided tour begins (ask your driver to pick you up at the exit at the Buland Darwaza, or "Great Gate").

Approach the Fatehpur Sikri complex, and walk through the Naubat Khana, a gate that was manned by drummers and musicians during imperial processions. Just ahead on the right is the Mint, a workshop that may have minted coins.

Next, a few steps from an archaeological museum is the Diwan-i-Aam (Hall of Public Audience), a large courtyard 366 feet wide by 181 feet long with colonnades on three sides. Ahead is the balcony where the emperor sat on his throne to meet subjects or observe celebrations and other spectacles. Through chiseled marble screens, the women of the court would watch as Akbar, the empire's chief justice, handed down his decisions: it's said that those condemned to die were impaled, hanged, or trampled under the feet of an elephant. What looks like a square two-story building with domed cupolas at each corner is the Diwan-i-Khas (Hall of Private Audience). Inside it's actually one tall room where Akbar sat on an elaborate elevated platform and, it's thought, conducted meetings with his ministers. Supported by a stone column topped with a giant lotus flower intricately carved in stone, it's connected by causeways to four balconies with window seats on which the ministers sat. The throne's position is thought to have symbolized the center of the world or, alternatively, the one god sought by several major religions; it also may have had a practical side, shielding the emperor from would-be assassins.

Across from the hall is the Treasury, also known as Ankh Michali (Hide and Seek), said to be named for Akbar's playful habit of playing the game with his harem inside the broad rooms and narrow passageways. The deep recesses in the walls, though, suggest that it may have been used as a treasury. Adjacent is the Astrologer's Seat, a platform where Akbar's royal astrologer sat. Pass through the courtyard paved with a board on which Akbar played pachisi (an early form of parcheesi that used slave girls as pieces), into the pavilion centered by the Anup Talao (Peerless Pool), a square pool with a central platform, connected by four bridges. Below the basement of the pavilion is an excavated underground palace whose entrances cleverly concealed it until archaeologists, led by reports from Akbar's day, discovered it. The emperor would come to these rooms, constructed at the center of a water-filled tank, to escape the summer heat. Unearthed within them was the 12-foot-high stone bowl (now displayed on the pavilion) used to store water transported from the Ganges—the only water Akbar would drink. At the edge of the pool is the Turkish Sultana's Pavilion, a charming structure covered with elaborate Persian carvings in floral and zigzag patterns. It is said to have been the home of the emperor's Turkish wife, but was more likely a place to relax by the pool and have a quiet conversation. Separated from the sultana's pavilion as well as from the official buildings of the palace by the Anup Talao are Akbar's private chambers.

The Imperial Harem, where the women of Akbar's household resided, consists of several buildings connected by covered passages and screened from view of the more public areas. The Panch Mahal is a breeze-catching structure with five (panch in Hindi) arcaded stories, each smaller than the one below. Its 176 columns are carved with tiny flowers or other motifs (no two of the first floor's 56 columns have the same design). As Fatehpur Sikri's tallest building, it affords grand views of the city and the surrounding landscape from its upper stories. When the women prayed, they did so behind the screened arches of the Najina Masjid (Small or Jewel Mosque), behind the Panch Mahal across a small garden. The largest residence in the complex is the Gujarati-influenced Jodh Bai Palace, more properly called Principal Haram Sara, because behind its eunuch-guarded entrance lived a number of the emperor's wives rather than just that of his Hindu wife, Jodh Bai. The Hawa Mahal (Palace of the Winds) is a cool vantage point from which women could peek out at the court unseen from beautifully carved stone screens.

The House of Mariam (on a diagonal between Jodh Bai's Palace and the Panch Mahal) is the home of either Akbar's Christian wife or, more likely, his mother. Look for the faded paintings of horses and elephants on the exterior walls. Some of the brackets supporting the eaves are carved with scenes from mythology. Birbal's Palace, which sits a few yards northwest of Jodh Bai's Palace and the Hawa Mahal, was named for the emperor's playfully irreverent Hindu prime minister. Because it's unlikely that he would have lived inside the harem, the Archaeological Survey of India ascribes it to Akbar's two senior wives. The palace's ornamentation makes use of both Hindu and Islamic motifs.

The big open colonnade behind the harem is known as the Royal Stables because the stalls were once thought to have housed elephants and horses; however, it is more likely that it was the quarters of the serving women, and that the open stalls were enclosed by curtains tied to the stone rings once thought to have tethered the animals. At the edge of the city complex, by Sikri Lake, you should be able to see the Hiran Minar tower, decorated with six-pointed stars and hexagons, from which elephant tusks protrude (the originals have been replaced with stone tusks). If it's open, there are 53 steps that take you to the top of the tower, from where you have a bird's-eye view of Fatehpur Sikri.

Follow the path down to the east gate of the Jama Masjid (Imperial Mosque); built around 1571 and designed to hold 10,000 worshippers, it's still in active use. Note the deliberate incorporation of Hindu elements in the design, especially the pillar decorations. The Shahi Darwza (Emperor's Gate) is on the eastern side of the mosque; only the emperor and his courtiers were allowed to pass through this gate. The sandstone gateway is fully carved in geometrical design, and has two arches, one on top of the other; a lotus-bud motif runs through the smaller arch.

In the courtyard of the Jama Masjid (opposite the Buland Darwaza) lies Salim Chisti's tomb, surrounded by walls of marble lace, each with a different design. Begun upon the saint's death in 1571 and finished nine years later, the tomb was originally faced with red sandstone, but was refinished in marble by Jahangir, the heir Akbar's wife bore after the saint's blessing. From here you can cross the courtyard and exit through the imposing Buland Darwaza. Tombs of those people lucky enough to be buried by the revered saint are in this area. And here is the Buland Darwaza (Great Gate), at the southwestern end of the city. The beautiful inscription etched on it translates to "The world is but a bridge, pass over but build no houses on it." With its beveled walls and inset archways, the southern gate rises 134 feet over a base of steps that raise it another 34 feet, dwarfing everything else in sight. Akbar built it after conquering Gujarat, and it set the style for later gateways, which the Mughals built habitually as symbols of their power.

The various upper stories of Fatehpur Sikri are now closed to visitors because of the proliferation of graffiti.

All that's left of the temple here are its pillars, festooned with carvings of pearls and bells. Adorning the entrance are an eight-armed Jain goddess, Chakreshvari, riding the mythical bird Garuda and a relief illustrating the 16 dreams of the mother of Mahavira, the founder and greatest figure in Jainism and a counterpart to the Buddha. The temple sits south of the Vamana, Javari, and Brahma temples, toward the Jain complex.

Drive or bike to the Gharial Sanctuary on the Ken River, 28 km (17 miles) away; the park was set up to protect the slender-snouted crocodile and has some lovely waterfalls. The Madhya Pradesh Tourism office has information about renting a jeep, and can provide directions.

Small and well-proportioned, this temple is just south of the Vamana and roughly contemporary with it. It has a simplified three-shrine design: the two main exterior bands of sculpture bear hosts of heavenly maidens. It's also dedicated to Lord Vishnu.

Known as the Golden Temple because of the gold plate on its spire—a gift from the Sikh Maharaja Ranjit Singh of Punjab in 1835—this is the most sacred shrine in Varanasi. It's dedicated to Shiva, whose pillar of light is said to have appeared on this spot. Foreigners are only admitted through Gate 2, and are required to bring passports and register prior to entering. Various forms of the arti prayer ceremony are performed outside at 2:30 am, 11:30 am, 7:30 pm, and 11:30 pm, though times can change depending on the season, so it's best to confirm directly. It's located in the Old City above the Ganges, between Dashashvamedh and Manikarnika ghat; to get here, walk from Dashashvamedh Road down the relatively broad, shop-lined lane (Vishvanath Gali, the main sari bazaar) to Vishvanath Temple. The lane turns sharply right at a large idol of the elephant-head god Ganesh, then passes the brightly painted wooden entrance to the 1725 Annapurna temple (Annapurna was Vishvanath's consort), on the right. On the left, look for the silver doorway, which is usually manned by a police officer—this is the entrance to the Kashi Vishvanath Temple. The present temple was built by Rani Ahalyabai of Indore in 1776, near the site of the original shrine, which had been destroyed by the emperor Aurangzeb. Nearby is the Gyanvapi Mosque, built by Mughal emperor Aurangzeb after he destroyed the temple that stood here; the building's foundation and rear still show parts of the original temple. As a result of Hindu revivalist attempts to reconsecrate the site of the former temple, the area is usually staffed with police and fenced with barbed wire. It's normally very sedate, however, and is an important starting point for Hindu pilgrims. Nonpilgrims aren't allowed into the inner sanctum.

Across from the Varaha Temple stands this temple dedicated to Vishnu. It is the only complete temple remaining. Along with Kandariya Mahadeva and Vishvanath, this edifice represents the peak of achievement in North Indian temple architecture. All three temples were built in the early to mid-10th century, face east, and follow an elaborate plan resembling a double cross, with three tiers of exterior sculpture on high platforms. The ceiling of the portico is carved with shell and floral motifs. The support beam over the entrance to the main shrine shows Lakshmi, goddess of wealth and consort of Vishnu, with Brahma, Lord of Creation, on her left and Shiva, Lord of Destruction, on her right. Around the exterior base are some of Khajuraho's most famous sculptures, with gods and goddesses on the protruding corners, erotic couples or groups in the recesses, and apsaras and sur-sundaris (apsaras performing everyday activities) in between. Along the sides of the tall platform beneath the temple, carvings depict social life, including battle scenes, festivals, and more X-rated pursuits. According to the inscription on the Lakshmana Temple, it was built by King Yasovarman. The whole temple was built to house an image of Vishnu given him by his Pratihara overlord, Devapala. This image (it can still be seen here) was originally brought over from Tibet.

Lying in ruins, with the original portico missing, this Shiva temple is 600 meters west of Chausath Yogini. It is historically significant because it was built of both granite and sandstone, marking the transition from Chausath Yogini to the later temples.

Sharing the platform with the Kandariya Mahadev and the Devi Jagdamba, this small temple is mostly in ruins. Now dedicated to Shiva, it may originally have been a subsidiary temple to the Kandariya, probably dedicated to Shiva's consort. In the portico stands a remarkable statue of a man caressing a mythical horned lion.

Just outside the boundary of the Western Group stands this temple, which has its own gate to the left of the entrance. It's the only one still in use here; worship takes place in the morning and afternoon. The lack of ornamentation, the square construction, and the simple floor plan date this temple to the early 10th century. It has large bay windows, a projecting portico, and a ceiling of overlapping concentric circles. An enormous lingam (a phallic symbol associated with Shiva), nearly 8½ feet tall, is enshrined in the sanctum.