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The Colosseum or Roman Coliseum, originally the Flavian Amphitheatre (Latin: Amphitheatrum Flavium, Italian Anfiteatro Flavio or Colosseo), is an elliptical amphitheatre in the center of the city of Rome, Italy, the largest ever built in the Roman Empire. It is one of the greatest works of Roman architecture and Roman engineering.

Occupying a site just east of the Roman Forum, its construction started between 70 and 72 AD under the emperor Vespasian and was completed in 80 AD under Titus, with further modifications being made during Domitian's reign (81–96). The name "Amphitheatrum Flavium" derives from both Vespasian's and Titus's family name (Flavius, from the gens Flavia).

Capable of seating 50,000 spectators, the Colosseum was used for gladiatorial contests and public spectacles. As well as the gladiatorial games, other public spectacles were held there, such as mock sea battles, animal hunts, executions, re-enactments of famous battles, and dramas based on Classical mythology. The building ceased to be used for entertainment in the early medieval era. It was later reused for such purposes as housing, workshops, quarters for a religious order, a fortress, a quarry, and a Christian shrine.

It has been estimated that about 500,000 people and over a million wild animals died in the Colosseum games.

Although in the 21st century it stays partially ruined due to damage caused by devastating earthquakes and stone-robbers, the Colosseum is an iconic symbol of Imperial Rome and its breakthrough achievements in earthquake engineering. It is one of Rome's most popular tourist attractions and still has close connections with the Roman Catholic Church, as each Good Friday the Pope leads a torchlit "Way of the Cross" procession to the amphitheatre.

The Colosseum is also depicted on the Italian version of the five-cent euro coin.

The Colosseum's original Latin name was Amphitheatrum Flavium, often anglicized as Flavian Amphitheater. The building was constructed by emperors of the Flavian dynasty, hence its original name, after the reign of Emperor Nero. This name is still used frequently in modern English, but it is generally unknown. In antiquity, Romans may have referred to the Colosseum by the unofficial name Amphitheatrum Caesareum; this name could have been strictly poetic.This name was not exclusive to the Colosseum; Vespasian and Titus, builders of the Colosseum, also constructed an amphitheater of the same name in Puteoli (modern Pozzuoli).

The name Colosseum has long been believed to be derived from a colossal statue of Nero nearby. This statue was later remodeled by Nero's successors into the likeness of Helios (Sol) or Apollo, the sun god, by adding the appropriate solar crown. Nero's head was also replaced several times with the heads of succeeding emperors. Despite its pagan links, the statue remained standing well into the medieval era and was credited with magical powers. It came to be seen as an iconic symbol of the permanence of Rome.

In the 8th century, the Venerable Bede (c. 672–735) wrote a famous epigram celebrating the symbolic significance of the statue, Quandiu stabit coliseus, stabit et Roma; quando cadit coliseus, cadet et Roma; quando cadet Roma, cadet et mundus ("as long as the Colossus stands, so shall Rome; when the Colossus falls, Rome shall fall; when Rome falls, so falls the world").^[10] This is often mistranslated to refer to the Colosseum rather than the Colossus (as in, for instance, Byron's poem Childe Harold's Pilgrimage). However, at the time that Bede wrote, the masculine noun coliseus was applied to the statue rather than to what was still known as the Flavian amphitheatre.

The Colossus did eventually fall, possibly being pulled down to reuse its bronze. By the year 1000 the name "Colosseum" (a neuter noun) had been coined to refer to the amphitheatre. The statue itself was largely forgotten and only its base survives, situated between the Colosseum and the nearby Temple of Venus and Roma.

The name was further corrupted to Coliseum during the Middle Ages. In Italy, the amphitheatre is still known as il Colosseo, and other Romance languages have come to use similar forms such as le Colisée (French), el Coliseo (Spanish) and o Coliseu (Portuguese).

Ancient

A map of central Rome during the Roman Empire, with the Colosseum at the upper right corner

Construction of the Colosseum began under the rule of the Emperor Vespasian in around 70–72AD. The site chosen was a flat area on the floor of a low valley between the Caelian, Esquiline and Palatine Hills, through which a canalised stream ran. By the 2nd century BC the area was densely inhabited. It was devastated by the Great Fire of Rome in AD 64, following which Nero seized much of the area to add to his personal domain. He built the grandiose Domus Aurea on the site, in front of which he created an artificial lake surrounded by pavilions, gardens and porticoes. The existing Aqua Claudia aqueduct was extended to supply water to the area and the gigantic bronze Colossus of Nero was set up nearby at the entrance to the Domus Aurea.

Although the Colossus was preserved, much of the Domus Aurea was torn down. The lake was filled in and the land reused as the location for the new Flavian Amphitheatre. Gladiatorial schools and other support buildings were constructed nearby within the former grounds of the Domus Aurea. According to a reconstructed inscription found on the site, "the emperor Vespasian ordered this new amphitheatre to be erected from his general's share of the booty." This is thought to refer to the vast quantity of treasure seized by the Romans following their victory in the Great Jewish Revolt in 70AD. The Colosseum can be thus interpreted as a great triumphal monument built in the Roman tradition of celebrating great victories. Vespasian's decision to build the Colosseum on the site of Nero's lake can also be seen as a populist gesture of returning to the people an area of the city which Nero had appropriated for his own use. In contrast to many other amphitheatres, which were located on the outskirts of a city, the Colosseum was constructed in the city centre; in effect, placing it both literally and symbolically at the heart of Rome.

The Colosseum had been completed up to the third story by the time of Vespasian's death in 79. The top level was finished and the building inaugurated by his son, Titus, in 80. Dio Cassius recounts that over 9,000 wild animals were killed during the inaugural games of the amphitheatre. The building was remodelled further under Vespasian's younger son, the newly-designated Emperor Domitian, who constructed the hypogeum, a series of underground tunnels used to house animals and slaves. He also added a gallery to the top of the Colosseum to increase its seating capacity.

In 217, the Colosseum was badly damaged by a major fire (caused by lightning, according to Dio Cassius) which destroyed the wooden upper levels of the amphitheatre's interior. It was not fully repaired until about 240 and underwent further repairs in 250 or 252 and again in 320. An inscription records the restoration of various parts of the Colosseum under Theodosius II and Valentinian III (reigned 425–450), possibly to repair damage caused by a major earthquake in 443; more work followed in 484 and 508. The arena continued to be used for contests well into the 6th century, with gladiatorial fights last mentioned around 435. Animal hunts continued until at least 523.

Map of medieval Rome depicting the Colosseum

The Colosseum underwent several radical changes of use during the medieval period. By the late 6th century a small church had been built into the structure of the amphitheatre, though this apparently did not confer any particular religious significance on the building as a whole. The arena was converted into a cemetery. The numerous vaulted spaces in the arcades under the seating were converted into housing and workshops, and are recorded as still being rented out as late as the 12th century. Around 1200 the Frangipani family took over the Colosseum and fortified it, apparently using it as a castle.

Severe damage was inflicted on the Colosseum by the great earthquake in 1349, causing the outer south side to collapse. Much of the tumbled stone was reused to build palaces, churches, hospitals and other buildings elsewhere in Rome. A religious order moved into the northern third of the Colosseum in the mid-14th century and continued to inhabit it until as late as the early 19th century. The interior of the amphitheatre was extensively stripped of stone, which was reused elsewhere, or (in the case of the marble façade) was burned to make quicklime. The bronze clamps which held the stonework together were pried or hacked out of the walls, leaving numerous pockmarks which still scar the building today.

Interior of the Colosseum, Rome. Thomas Cole, 1832. Note the Stations of the Cross around the arena and the extensive vegetation, both removed later in the 19th century.

During the 16th and 17th century, Church officials sought a productive role for the vast derelict hulk of the Colosseum. Pope Sixtus V (1585–1590) planned to turn the building into a wool factory to provide employment for Rome's prostitutes, though this proposal fell through with his premature death. In 1671 Cardinal Altieri authorized its use for bullfights; a public outcry caused the idea to be hastily abandoned.

The Colliseum in a 1757 engraving by Giovanni Battista Piranesi

In 1749, Pope Benedict XIV endorsed as official Church policy the view that the Colosseum was a sacred site where early Christians had been martyred. He forbade the use of the Colosseum as a quarry and consecrated the building to the Passion of Christ and installed Stations of the Cross, declaring it sanctified by the blood of the Christian martyrs who perished there (see Christians and the Colosseum). Later popes initiated various stabilization and restoration projects, removing the extensive vegetation which had overgrown the structure and threatened to damage it further. The façade was reinforced with triangular brick wedges in 1807 and 1827, and the interior was repaired in 1831, 1846 and in the 1930s. The arena substructure was partly excavated in 1810–1814 and 1874 and was fully exposed under Benito Mussolini in the 1930s.

Between 1993 and 2000, parts of the outer wall were cleaned (left) to repair the Colosseum from automobile exhaust damage (right)

The Colosseum is today one of Rome's most popular tourist attractions, receiving millions of visitors annually. The effects of pollution and general deterioration over time prompted a major restoration programme carried out between 1993 and 2000, at a cost of 40 billion Italian lire ($19.3m / €20.6m at 2000 prices). In recent years it has become a symbol of the international campaign against capital punishment, which was abolished in Italy in 1948. Several anti–death penalty demonstrations took place in front of the Colosseum in 2000. Since that time, as a gesture against the death penalty, the local authorities of Rome change the color of the Colosseum's night time illumination from white to gold whenever a person condemned to the death penalty anywhere in the world gets their sentence commuted or is released, or if a jurisdiction abolishes the death penalty. Most recently, the Colosseum was illuminated in gold when capital punishment was abolished in the American state of New Jersey in December 2007.

Today, the Colosseum is a background to the busy metropolis that is modern Rome.

Due to the ruined state of the interior, it is impractical to use the Colosseum to host large events; only a few hundred spectators can be accommodated in temporary seating. However, much larger concerts have been held just outside, using the Colosseum as a backdrop. Performers who have played at the Colosseum in recent years have included Ray Charles (May 2002), Paul McCartney (May 2003), and Elton John (September 2005).

On July 7, 2007, the Colosseum was voted as one of New Open World Corporation's New Seven Wonders of the World.

Exterior

The exterior of the Colosseum, showing the partially intact outer wall (left) and the mostly intact inner wall (right)

Original façade of the Colosseum

Entrance LII of the Colosseum, with Roman numerals still visible

Cross-section from the Lexikon der gesamten Technik (1904)

Unlike earlier Greek theatres that were built into hillsides, the Colosseum is an entirely free-standing structure. It derives its basic exterior and interior architecture from that of two Roman theatres back to back. It is elliptical in plan and is 189 meters (615 ft / 640 Roman feet) long, and 156 meters (510 ft / 528 Roman feet) wide, with a base area of 6 acres (24,000 m²). The height of the outer wall is 48 meters (157 ft / 165 Roman feet). The perimeter originally measured 545 meters (1,788 ft / 1,835 Roman feet). The central arena is an oval (287 ft) long and (180 ft) wide, surrounded by a wall (15 ft) high, above which rose tiers of seating.

The outer wall is estimated to have required over 100,000 cubic meters (131,000 cu yd) of travertine stone which were set without mortar held together by 300 tons of iron clamps. However, it has suffered extensive damage over the centuries, with large segments having collapsed following earthquakes. The north side of the perimeter wall is still standing; the distinctive triangular brick wedges at each end are modern additions, having been constructed in the early 19th century to shore up the wall. The remainder of the present-day exterior of the Colosseum is in fact the original interior wall.

The surviving part of the outer wall's monumental façade comprises three stories of superimposed arcades surmounted by a podium on which stands a tall attic, both of which are pierced by windows interspersed at regular intervals. The arcades are framed by half-columns of the Doric, Ionic, and Corinthian orders, while the attic is decorated with Corinthian pilasters.^[18] Each of the arches in the second- and third-floor arcades framed statues, probably honoring divinities and other figures from Classical mythology.

Two hundred and forty mast corbels were positioned around the top of the attic. They originally supported a retractable awning, known as the velarium, that kept the sun and rain off spectators. This consisted of a canvas-covered, net-like structure made of ropes, with a hole in the center. It covered two-thirds of the arena, and sloped down towards the center to catch the wind and provide a breeze for the audience. Sailors, specially enlisted from the Roman naval headquarters at Misenum and housed in the nearby Castra Misenatium, were used to work the velarium.

The Colosseum's huge crowd capacity made it essential that the venue could be filled or evacuated quickly. Its architects adopted solutions very similar to those used in modern stadiums to deal with the same problem. The amphitheatre was ringed by eighty entrances at ground level, 76 of which were used by ordinary spectators.^[1] Each entrance and exit was numbered, as was each staircase. The northern main entrance was reserved for the Roman Emperor and his aides, whilst the other three axial entrances were most likely used by the elite. All four axial entrances were richly decorated with painted stucco reliefs, of which fragments survive. Many of the original outer entrances have disappeared with the collapse of the perimeter wall, but entrances XXIII (23) to LIV (54) still survive.

Spectators were given tickets in the form of numbered pottery shards, which directed them to the appropriate section and row. They accessed their seats via vomitoria (singular vomitorium), passageways that opened into a tier of seats from below or behind. These quickly dispersed people into their seats and, upon conclusion of the event or in an emergency evacuation, could permit their exit within only a few minutes. The name vomitoria derived from the Latin word for a rapid discharge, from which English derives the word vomit.

Side view of Colosseum seating

According to the Codex-Calendar of 354, the Colosseum could accommodate 87,000 people, although modern estimates put the figure at around 50,000. They were seated in a tiered arrangement that reflected the rigidly stratified nature of Roman society. Special boxes were provided at the north and south ends respectively for the Emperor and the Vestal Virgins, providing the best views of the arena. Flanking them at the same level was a broad platform or podium for the senatorial class, who were allowed to bring their own chairs. The names of some 5th century senators can still be seen carved into the stonework, presumably reserving areas for their use.

The tier above the senators, known as the maenianum primum, was occupied by the non-senatorial noble class or knights (equites). The next level up, the maenianum secundum, was originally reserved for ordinary Roman citizens (plebians) and was divided into two sections. The lower part (the immum) was for wealthy citizens, while the upper part (the summum) was for poor citizens. Specific sectors were provided for other social groups: for instance, boys with their tutors, soldiers on leave, foreign dignitaries, scribes, heralds, priests and so on. Stone (and later marble) seating was provided for the citizens and nobles, who presumably would have brought their own cushions with them. Inscriptions identified the areas reserved for specific groups.

Another level, the maenianum secundum in legneis, was added at the very top of the building during the reign of Domitian. This comprised a gallery for the common poor, slaves and women. It would have been either standing room only, or would have had very steep wooden benches. Some groups were banned altogether from the Colosseum, notably gravediggers, actors and former gladiators.

Each tier was divided into sections (maeniana) by curved passages and low walls (praecinctiones or baltei), and were subdivided into cunei, or wedges, by the steps and aisles from the vomitoria. Each row (gradus) of seats was numbered, permitting each individual seat to be exactly designated by its gradus, cuneus, and number.

The Colosseum arena, showing the hypogeum. The wooden walkway is a modern structure.

Detail of the hypogeum

The arena itself was 83 meters by 48 meters (272 ft by 157 ft / 280 by 163 Roman feet). It comprised a wooden floor covered by sand (the Latin word for sand is harena or arena), covering an elaborate underground structure called the hypogeum (literally meaning "underground"). Little now remains of the original arena floor, but the hypogeum is still clearly visible. It consisted of a two-level subterranean network of tunnels and cages beneath the arena where gladiators and animals were held before contests began. Eighty vertical shafts provided instant access to the arena for caged animals and scenery pieces concealed underneath; larger hinged platforms, called hegmata, provided access for elephants and the like. It was restructured on numerous occasions; at least twelve different phases of construction can be seen.

The hypogeum was connected by underground tunnels to a number of points outside the Colosseum. Animals and performers were brought through the tunnel from nearby stables, with the gladiators' barracks at the Ludus Magnus to the east also being connected by tunnels. Separate tunnels were provided for the Emperor and the Vestal Virgins to permit them to enter and exit the Colosseum without needing to pass through the crowds.

Substantial quantities of machinery also existed in the hypogeum. Elevators and pulleys raised and lowered scenery and props, as well as lifting caged animals to the surface for release. There is evidence for the existence of major hydraulic mechanisms and according to ancient accounts, it was possible to flood the arena rapidly, presumably via a connection to a nearby aqueduct.

The Colosseum - a view from Colle Oppio

The Colosseum and its activities supported a substantial industry in the area. In addition to the amphitheatre itself, many other buildings nearby were linked to the games. Immediately to the east is the remains of the Ludus Magnus, a training school for gladiators. This was connected to the Colosseum by an underground passage, to allow easy access for the gladiators. The Ludus Magnus had its own miniature training arena, which was itself a popular attraction for Roman spectators. Other training schools were in the same area, including the Ludus Matutinus (Morning School), where fighters of animals were trained, plus the Dacian and Gallic Schools.

Also nearby were the Armamentarium, comprising an armory to store weapons; the Summum Choragium, where machinery was stored; the Sanitarium, which had facilities to treat wounded gladiators; and the Spoliarium, where bodies of dead gladiators were stripped of their armor and disposed of.

Around the perimeter of the Colosseum, at a distance of 18 m (59 ft) from the perimeter, was a series of tall stone posts, with five remaining on the eastern side. Various explanations have been advanced for their presence; they may have been a religious boundary, or an outer boundary for ticket checks, or an anchor for the velarium or awning.

Right next to the Colosseum is also the Arch of Constantine.

Pollice Verso ("Thumbs Down") by Jean-Léon Gérôme, 1872

The Colosseum was used to host gladiatorial shows as well as a variety of other events. The shows, called munera, were always given by private individuals rather than the state. They had a strong religious element but were also demonstration of power and family prestige, and were immensely popular with the population. Another popular type of show was the animal hunt, or venatio. This utilized a great variety of wild beasts, mainly imported from Africa and the Middle East, and included creatures such as rhinoceros, hippopotamuses, elephants, giraffes, aurochs, wisents, barbary lions, panthers, leopards, bears, caspian tigers, alligators, crocodiles and ostriches. Battles and hunts were often staged amid elaborate sets with movable trees and buildings. Such events were occasionally on a huge scale; Trajan is said to have celebrated his victories in Dacia in 107 with contests involving 11,000 animals and 10,000 gladiators over the course of 123 days.

During the early days of the Colosseum, ancient writers recorded that the building was used for naumachiae (more properly known as navalia proelia) or simulated sea battles. Accounts of the inaugural games held by Titus in AD 80 describe it being filled with water for a display of specially trained swimming horses and bulls. There is also an account of a re-enactment of a famous sea battle between the Corcyrean (Corfiot) Greeks and the Corinthians. This has been the subject of some debate among historians; although providing the water would not have been a problem, it is unclear how the arena could have been waterproofed, nor would there have been enough space in the arena for the warships to move around. It has been suggested that the reports either have the location wrong, or that the Colosseum originally featured a wide floodable channel down its central axis (which would later have been replaced by the hypogeum).

Sylvae or recreations of natural scenes were also held in the arena. Painters, technicians and architects would construct a simulation of a forest with real trees and bushes planted in the arena's floor. Animals would be introduced to populate the scene for the delight of the crowd. Such scenes might be used simply to display a natural environment for the urban population, or could otherwise be used as the backdrop for hunts or dramas depicting episodes from mythology. They were also occasionally used for executions in which the hero of the story — played by a condemned person — was killed in one of various gruesome but mythologically authentic ways, such as being mauled by beasts or burned to death.

Today

The Colosseum today is now a major tourist attraction in Rome with thousands of tourists each year paying to view the interior arena, though entrance for EU citizens is partially subsidised, and under-18 and over-65 EU citizens' entrances are free. There is now a museum dedicated to Eros located in the upper floor of the outer wall of the building. Part of the arena floor has been re-floored.

The Colosseum is also the site of Roman Catholic ceremonies in the 20th and 21st centuries. For instance, Pope Benedict XVI performs the Stations of the Cross called the Scriptural Way of the Cross (which calls for more meditation) at the Colosseum^[22][23] on Good Fridays.

The Christian Martyrs' Last Prayer, by Jean-Léon Gérôme (1883).

In the Middle Ages, the Colosseum was clearly not regarded as a sacred site. Its use as a fortress and then a quarry demonstrates how little spiritual importance was attached to it, at a time when sites associated with martyrs were highly venerated. It was not included in the itineraries compiled for the use of pilgrims nor in works such as the 12th century Mirabilia Urbis Romae ("Marvels of the City of Rome"), which claims the Circus Flaminius — but not the Colosseum — as the site of martyrdoms. Part of the structure was inhabited by a Christian order, but apparently not for any particular religious reason.

It appears to have been only in the 16th and 17th centuries that the Colosseum came to be regarded as a Christian site. Pope Pius V (1566-1572) is said to have recommended that pilgrims gather sand from the arena of the Colosseum to serve as a relic, on the grounds that it was impregnated with the blood of martyrs. This seems to have been a minority view until it was popularised nearly a century later by Fioravante Martinelli, who listed the Colosseum at the head of a list of places sacred to the martyrs in his 1653 book Roma ex ethnica sacra.

Martinelli's book evidently had an effect on public opinion; in response to Cardinal Altieri's proposal some years later to turn the Colosseum into a bullring, Carlo Tomassi published a pamphlet in protest against what he regarded as an act of desecration. The ensuing controversy persuaded Pope Clement X to close the Colosseum's external arcades and declare it a sanctuary, though quarrying continued for some time to come.

At the instance of St. Leonard of Port Maurice, Pope Benedict XIV (1740-1758) forbade the quarrying of the Colosseum and erected Stations of the Cross around the arena, which remained until February 1874. St. Benedict Joseph Labre spent the later years of his life within the walls of the Colosseum, living on alms, prior to his death in 1783. Several 19th century popes funded repair and restoration work on the Colosseum, and it still retains a Christian connection today. Crosses stand in several points around the arena and every Good Friday the Pope leads a Via Crucis procession to the amphitheatre.

Flora

Plants on the inner walls of the Colosseum

The Colosseum has a wide and well-documented history of flora ever since Domenico Panaroli made the first catalogue of its plants in 1643. Since then, 684 species have been identified there. The peak was in 1855 (420 species). Attempts were made in 1871 to eradicate the vegetation, due to concerns over the damage that was being caused to the masonry, but much of it has returned.242 species have been counted today and of the species first identified by Panaroli, 200 remain.

The variation of plants can be explained by the change of climate in Rome through the centuries. Additionally, bird migration, flower blooming, and the growth of Rome that caused the Colosseum to become embedded within the modern city centre rather than on the outskirts of the ancient city, as well as deliberate transport of species, are also contributing causes. One other romantic reason often given is their seeds being unwittingly transported on the animals brought there from all corners of the empire. wikipedia

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Christ the Redeemer (Portuguese: O Cristo Redentor) is a statue of Jesus Christ in Rio de Janeiro, Brazil. The statue stands 38 metres (120 ft) tall weighs 635 tonnes (700 short tons), and is located at the peak of the 700 metres (2,300 ft) Corcovado mountain in the Tijuca Forest National Park overlooking the city. It is the second tallest of its kind in the world, after the statue of Cristo de la Concordia in Cochabamba, Bolivia. It is made of reinforced concrete and soapstone.

A symbol of Christianity, the statue has become an icon of Rio and Brazil.

The idea for erecting a large statue atop Corcovado was first suggested in the mid 1850s, when Catholic priest Pedro Maria Boss requested financing from Princess Isabel to build a large religious monument. Princess Isabel did not think much of the idea and it was completely dismissed in 1889, when Brazil became a Republic, with laws mandating the separation of church and state. The second proposal for a large landmark statue on the mountain was made in 1921 by the Catholic Circle of Rio. The group organised an event called Semana do Monumento ("Monument Week") to attract donations and collect signatures to support the building of the statue. The donations came mostly from Brazilian Catholics. The designs considered for the "Statue of the Christ" included a representation of the Christian cross, a statue of Jesus with a globe in his hands, and a pedestal symbolizing the world. The statue of Christ the Redeemer with open arms was chosen.

Local engineer Heitor da Silva Costa designed the statue; it was sculpted by Paul Landowski, a French monument sculptor of Polish origin. A group of engineers and technicians studied Landowski's submissions and the decision was made to build the structure out of reinforced concrete (designed by Albert Caquot) instead of steel, more suitable for the cross-shaped statue. The outer layers are soapstone, chosen for its enduring qualities and ease of use. Construction took nine years, from 1922 to 1931. The monument was opened on October 12, 1931.^[2][3] The cost of the monument was $250,000. The statue was meant to be lit by a battery of floodlights triggered remotely by shortwave radio pioneer Guglielmo Marconi, stationed 5,700 miles (9,200 km) away in Rome, but poor weather affected the signal and it had to be lit by workers in Rio.

The statue was struck by lightning during a violent electrical storm on Sunday, February 10, 2008. The storm caused havoc in Rio, falling trees in several neighborhoods, but the statue was left unscathed because soapstone, the material forming the outer layers of the statue, is an insulator. In October 2006, on the statue's 75th anniversary, Archbishop of Rio Cardinal Eusebio Oscar Scheid consecrated a chapel (named for the patron saint of Brazil - Nossa Senhora Aparecida) under the statue. This allows Catholics to hold baptisms and weddings there. On 7th July 2007, Christ the Redeemer was named one of the New Seven Wonders of the World in a list compiled by the Swiss-based The New Open World Corporation. In Brazil there was a campaign Vote no Cristo (Vote for the Christ) which had the support of private companies. Additionally, leading corporate sponsors including Banco Bradesco and Rede Globo spent millions of dollars in the effort to have the statue voted into the top seven. wikipedia

Click on images for fullscreen interactive 360 degree panoramas

Click on images for fullscreen interactive 360 degree panoramas

Chichen Itza (pronounced /tʃiːˈtʃɛn iːˈtsɑː/;from Yucatec Maya: Chi'ch'èen Ìitsha',"At the mouth of the well of the Itza") is a large pre-Columbian archaeological site built by the Maya civilization located in the northern center of the Yucatán Peninsula, in the Yucatán state, present-day Mexico.

Chichen Itza was a major regional focal point in the northern Maya lowlands from the Late Classic through the Terminal Classic and into the early portion of the Early Postclassic period. The site exhibits a multitude of architectural styles, from what is called “Mexicanized” and reminiscent of styles seen in central Mexico to the Puuc style found among the Puuc Maya of the northern lowlands. The presence of central Mexican styles was once thought to have been representative of direct migration or even conquest from central Mexico, but most contemporary interpretations view the presence of these non-Maya styles more as the result of cultural diffusion.

The ruins of Chichen Itza are federal property, and the site’s stewardship is maintained by Mexico’s Instituto Nacional de Antropología e Historia (National Institute of Anthropology and History, INAH). The land under the monuments, however, is privately-owned by the Barbachano family.

Name and orthography

The Maya name "Chich'en Itza" means "At the mouth of the well of the Itza." This derives from chi', meaning "mouth" or "edge", and ch'e'en, meaning "well." Itzá is the name of an ethnic-lineage group that gained political and economic dominance of the northern peninsula. The name is believed to derive from the Maya itz, meaning "magic," and (h)á, meaning "water." Itzá in Spanish is often translated as "Brujas del Agua (Witches of Water)" but a more precise translation would be Magicians of Water.^{[citation needed]}

The name is often represented as Chichén Itzá in Spanish and when translated into other languages from Spanish to show that both parts of the name are stressed on their final syllables. Other references prefer to employ a more rigorous orthography in which the word is written according to Maya language, using Chich'en Itzá IPA: [tʃitʃʼen itsáʔ]. This form preserves the phonemic distinction between [ ch' ] and [ ch ], since the base word ch'e'en (which, however, does have a neutral tone vowel "e" in Maya and is not accented or stressed in Maya) begins with a glottalized affricate. The word "Itzá'" has a high rise final "a" that is followed by a glottal stop (indicated by the apostrophe).

There is evidence in the Books of the Chilam Balams that there was another, earlier name for this city prior to the arrival of the Itza hegemony in northern Yucatán. This name is difficult to define because of the absence of a single standard of orthography, but it is represented variously as Uuc Yabnal, Uuc Hab Nal, or Uc Abnal. While most sources agree the first word means seven, there is considerable debate as to the correct translation of the rest. Among the translations suggested are “Seven Bushes,” “Seven Great Houses,” or “Seven Lines of Abnal.”

Northern Yucatán is arid, and the interior has no above-ground rivers. There are two large, natural sink holes, called cenotes, that could have provided plentiful water year round at Chichen, making it attractive for settlement. Of the two cenotes, the "Cenote Sagrado" or Sacred Cenote (also variously known as the Sacred Well or Well of Sacrifice), is the more famous. According to post-Conquest sources (Maya and Spanish), pre-Columbian Maya sacrificed objects and human beings into the cenote as a form of worship to the Maya rain god Chaac. Edward Herbert Thompson dredged the Cenote Sagrado from 1904 to 1910, and recovered artifacts of gold, jade, pottery, and incense, as well as human remains. A recent study of human remains taken from the Cenote Sagrado found that they had wounds consistent with human sacrifice.

Kukulcan's Jaguar Throne, interior temple of "El Castillo"

Ascendancy

Chichen Itza rose to regional prominence towards the end of the Early Classic period (or, roughly 600 AD). It was, however, towards the end of the Late Classic and into the early part of the Terminal Classic that the site became a major regional capital, centralizing and dominating political, sociocultural, economic, and ideological life in the northern Maya lowlands. The ascension of Chichen Itza roughly correlates with the decline and fragmentation of the major centers of the southern Maya lowlands, such as Tikal.

Some ethnohistoric sources claim that in about 987 a Toltec king named Topiltzin Ce Acatl Quetzalcoatl arrived here with an army from central Mexico, and (with local Maya allies) made Chichen Itza his capital, and a second Tula. The art and architecture from this period shows an interesting mix of Maya and Toltec styles. However, the recent re-dating of Chichen Itza's decline (see below) indicates that Chichen Itza is largely a Late/Terminal Classic site, while Tula remains an Early Postclassic site (thus reversing the direction of possible influence).

Columns in the Temple of a Thousand Warriors

Several archaeologists in late 1980s suggested that unlike previous Maya polities of the Early Classic, Chichen Itza may not have been governed by an individual ruler or a single dynastic lineage. Instead, the city’s political organization could have been structured by a "multepal" system, which is characterized as rulership through council composed of members of elite ruling lineages. This theory was popular in the 1990s, but in recent years, the research that supported the concept of the "multepal" system has been called into question, if not discredited. The current belief trend in Maya scholarship is toward the more traditional model of the Maya kingdoms of the Classic southern lowlands.

Economy

Chichen Itza was a major economic power in the northern Maya lowlands during its apogee. Participating in the water-borne circum-peninsular trade route through its port site of Isla Cerritos, Chichen Itza was able to obtain locally unavailable resources from distant areas such as central Mexico (obsidian) and southern Central America (gold).

Decline

According to Maya chronicles (e.g., the Book of Chilam Balam of Chumayel), Hunac Ceel, ruler of Mayapan, conquered Chichen Itza in the 13th century. Hunac Ceel supposedly prophecized his own rise to power. According to custom at the time, individuals thrown into the Cenote Sagrado were believed to have the power of prophecy if they survived. During one such ceremony, the chronicles state, there were no survivors, so Hunac Ceel leaped into the Cenote Sagrado, and when removed, prophecized his own ascension.

While there is some archaeological evidence that indicates Chichén Itzá was at one time looted and sacked, there appears to be greater evidence that it could not have been by Mayapan, at least not when Chichén Itzá was an active urban center. Archaeological data now indicates that Chichen Itza fell by around AD 1000, some two centuries before the rise of Mayapan. Ongoing research at the site of Mayapan may help resolve this chronological conundrum.

While Chichén Itzá “collapsed” (meaning elite activities ceased and the site rapidly depopulated) it does not appear to have been completely abandoned. According to post-Conquest sources, both Spanish and Maya, the Cenote Sagrado remained a place of pilgrimage.

Spanish arrival

In 1526 Spanish Conquistador Francisco de Montejo (a veteran of the Grijalva and Cortés expeditions) successfully petitioned the King of Spain for a charter to conquer Yucatán. His first campaign in 1527, which covered much of the Yucatán peninsula, decimated his forces but ended with the establishment of a small fort at Xamanha, south of what is today Cancun. Montejo returned to Yucatan in 1531 with reinforcements and took Campeche on the west coast. He sent his son, Francisco Montejo The Younger, in late 1532 to conquer the interior of the Yucatán peninsula from the north. The objective from the beginning was to go to Chichén Itzá and establish a capital.

Montejo the Younger eventually arrived at Chichen Itza, which he renamed Ciudad Real. At first he encountered no resistance, and set about dividing the lands around the city and awarding them to his soldiers. Over time, the Maya became more hostile until they eventually laid siege to the Spanish, cutting off their supply line to the coast, and forcing them to barricade themselves among the ruins of ancient city. After the course of several months, with no reinforcements forthcoming, Montejo the Younger attempted an all out assault against the Maya, and lost 150 of his remaining forces. He was forced to abandon Chichén Itzá in 1534 under cover of darkness. By 1535, all Spanish had been driven from the Yucatan Peninsula.

Montejo eventually returned to Yucatan and conquered the peninsula. The Spanish crown later issued a land grant that included Chichen Itza and by 1588 it was a working cattle ranch.

East side of El Castillo

Great Ballcourt (interior)

Templo de los Guerreros (Temple of the Warriors)

Ossario.

"El Caracol" observatory temple.

"La Iglesia" in Las Monjas complex of buildings.

The site contains many fine stone buildings in various states of preservation, and many have been restored. The buildings are connected by a dense network of formerly paved roads, called sacbeob. Archaeologists have found almost 100 sacbeob criss-crossing the site, and extending in all directions from the city.

The buildings of Chichén Itza are grouped in a series of architectonic sets, and each set was at one time separated from the other by a series of low walls. The three best known of these complexes are the Great North Platform, which includes the monuments of El Castillo, Temple of Warriors and the Great Ball Court; The Ossario Group, which includes the pyramid of the same name as well as the Temple of Xtoloc; and the Central Group, which includes the Caracol, Las Monjas, and Akab Dzib.

South of Las Monjas, in an area known as Chichén Viejo (Old Chichén) and only open to archaeologists, are several other complexes, such as the Group of the Initial Series, Group of the Lintels, and Group of the Old Castle.

Great North Platform

El Castillo

Dominating the center of Chichén is the Temple of Kukulkan (the Maya name for Quetzalcoatl), often referred to as "El Castillo" (the castle). This step pyramid has a ground plan of square terraces with stairways up each of the 4 sides to the temple on top. On the Spring and Autumn equinox, at the rising and setting of the sun, the corner of the structure casts a shadow in the shape of a plumed serpent - Kukulcan, or Quetzalcoatl - along the west side of the north staircase. On these two days, the shadows from the corner tiers slither down the northern side of the pyramid with the sun's movement to the serpent's head at the base.

Mesoamerican cultures periodically built larger pyramids atop older ones, and this is one such example. In the mid 1930s, the Mexican government sponsored an excavation into El Castillo. After several false starts, they discovered a staircase under the north side of the pyramid. By digging from the top, they found another temple buried below the current one. Inside the temple chamber was a Chac Mool statue and a throne in the shape of jaguar, painted red with spots made of inlaid jade.

The Mexican government excavated a tunnel from the base of the north staircase, up the earlier pyramid’s stairway to the hidden temple, and opened it to tourists. In 2006, INAH closed the throne room to the public.

Great Ball Court

Archaeologists have identified several courts for playing the Mesoamerican ballgame in Chichén, but the Great Ball Court about 150 meters to the north-west of the Castillo is by far the most impressive. It is the largest ball court in ancient Mesoamerica. It measures 166 by 68 meters (545 by 232 feet). The imposing walls are 12 meters high, and in the center, high up on each of the long walls, are rings carved with intertwining serpents.

At the base of the high interior walls are slanted benches with sculpted panels of teams of ball players. In one panel, one of the players has been decapitated and from the wound emits seven streams of blood; six become wriggling serpents and the center becomes a winding plant.

At one end of the Great Ball Court is the North Temple, popularly called the Temple of the Bearded Man. This small masonry building has detailed bas relief carving on the inner walls, including a center figure that has carving under his chin that resembles facial hair. At the south end is another, much bigger temple, but in ruins.

Built into the east wall are the Temples of the Jaguar. The Upper Temple of the Jaguar overlooks the ball court and has an entrance guarded by two, large columns carved in the familiar feathered serpent motif. Inside there is a large mural, much destroyed, which depicts a battle scene.

In the entrance to the Lower Temple of the Jaguar, which opens behind the ball court, is another jaguar throne, similar to the one in the inner temple of El Castillo, except that it is well worn and missing paint or other decoration. The outer columns and the walls inside the temple are covered with elaborate bas-relief carvings.

Tzompantli

Of all the monuments, the Tzompantli is the closest to what one would find in the Mexican altiplano region. This monument, a low, flat platform, is surrounded with carved depictions of human skulls.

Next to El Castillo are a series of platforms. The Platform of the Eagles and the Jaguars is built in a combination Maya and Toltec styles. Each side has a staircase to the top. Carved into the sides are panels depicting eagles and jaguars consuming what appear to be human hearts.

Platform of Venus

This platform is dedicated to the planet Venus. In its interior archaeologists discovered a collection of large cones carved out of stone, the purpose of which is unknown. This platform is placed between El Castillo and the Cenote Sagrado.

Sacbe Number One

This sacbe, which leads to the Cenote Sagrado, is the largest and most elaborate at Chichen Itza. This “white road” is 270 meters long with an average width of 9 meters. It begins at a low wall a few meters from the Platform of Venus. According to archaeologists there once was an extensive building with columns at the beginning of the road.

Cenote Sagrado

The Yucatan Peninsula is a limestone plain, with no rivers or streams. The region is pockmarked with natural sinkholes, called cenotes, which expose the water table to the surface. One of the most impressive is the Cenote Sagrado, which is 60 meters in diameter, and shear cliffs that drop to the water table some 27 meters below.

The Cenote Sagrado was a place of pilgrimage for ancient Maya people who, according to ethnohistoric sources, would conduct sacrifices during times of drought. Archaeological investigations support this as thousands of objects have been removed from the bottom of the cenote, including material such as gold, jade, obsidian, shell, wood, cloth, as well as skeletons of children and men.

Temple of the Tables

To the east of El Castillo are a series of buildings, the northernmost is the Temple of the Tables. Its name comes from a series of altars at the top of the structure that are supported by small carved figures of men with upraised arms, called “atlantes.”

Detail of Temple of the Warriors showing Chac Mool

Temple of the Warriors

The Temple of the Warriors complex consists of a large stepped pyramid fronted and flanked by rows of carved columns depicting warriors. This complex is analogous to Temple B at the Toltec capital of Tula, and indicates some form of cultural contact between the two regions. The one at Chichen Itza, however, was constructed on a larger scale. At the top of the stairway on the pyramid’s summit (and leading towards the entrance of the pyramid’s temple) is a Chac Mool.

Group of a Thousand Columns

Along the south wall of the Temple of Warriors are a series of what are today exposed columns, although when the city was inhabited these would have supported an extensive roof system. The columns are in three distinct sections: an east group, that extends the lines of the front of the Temple of Warriors; a north group, which runs along the south wall of the Temple of Warrriors and contains pillars with carvings of soldiers in bas-relief; and a northeast group, which was apparently formed a small temple at the southeast corner of the Temple of Warriors, which contains a rectangular decorated with carvings of people or gods, as well as animals and serpents. The northeast column temple also covers a small marvel of engineering, a channel that funnels all the rainwater from the complex some 40 meters away to a rejollada, a former cenote.

To the south of the Group of a Thousand Columns is a group of three, smaller, interconnected buildings. The Temple of the Carved Columns is a small elegant building that consists of a front gallery with an inner corridor that leads to an altar with a Chac Mool. There are also numerous columns with rich, bas-relief carvings of some 40 personages. The Temple of the Small Tables which has an exterior motif of x’s and o’s. And the Palace of Ahau Balam Kauil (also known as Thompson’s Temple), a small building with two levels that has friezes depicting jaguars (balam in Maya) as well as glyphs of the Maya god Kahuil.

Steam Bath

This unique building has three parts: a waiting gallery, a water bath, and a steam chamber that operated by means of heated stones.

El Mercado

This square structure anchors the southern end of the Temple of Warriors complex. It is so named for the shelf of stone that rings a large gallery and patio that early explorers theorized was used to display wares as in a marketplace, although archaeologists today believe that its purpose was more ceremonial than commerce.

Ossario Group

South of the North Group is a smaller platform that has many important structures, several of which appear to be oriented toward the second largest cenote at Chichen Itza, Xtoloc.

Ossario

Like El Castillo, this step-pyramid temple dominates the platform, just on a smaller scale. Like its larger neighbor, it has four sides with staircases on each side. There is a temple on top, but unlike El Castillo, at the center is an opening into the pyramid which leads to a natural cave 12 meters below. Edward H. Thompson excavated this cave in the late 1800s, and because he found several skeletons and artifacts such as jade beads, he named the structure The High Priests' Temple. Archaeologists today do not believe that the structure was either a tomb or that the personages buried in it were priests.

Temple of Xtoloc

Outside the Ossario Platform is this recently restored temple which overlooks the other large cenote at Chichen Itza, named after the Maya word for iguana, "Xtoloc." The temple contains a series of pilasters carved with images of people, as well as representations of plants, birds and mythological scenes.

Between the Xtoloc temple and the Ossario are several aligned structures: Platform of Venus (which is similar in design to the structure of the same name next to El Castillo), Platform of the Tombs, and a small, round structure that is unnamed. These three structures were constructed in a row extending from the Ossario. Beyond them the Ossario platform terminates in a wall, which contains an opening to a sacbe that runs several hundred feet to the Xtoloc temple.

House of the Metates and House of the Mestizas

South of the Ossario, at the boundary of the platform, are two small buildings that archaeologists believe were residences for important personages.

Central Group

Las Monjas

One of the more notable structures at Chichen Itza is a complex of Terminal Classic buildings constructed in the Puuc architectural style. The Spanish nicknamed this complex Las Monjas ("The Nuns" or "The Nunnery") but was actually a governmental palace. Just to the east is a small temple (nicknamed La Iglesia, "The Church") decorated with elaborate masks of the rain god Chaac.

A number of other structures are near the "Monjas" complex. These include:

• "The Red House"
• "The House of the Deer"

El Caracol

To the north of Las Monjas is a cockeyed, round building on a large square platform nicknamed El Caracol or "the snail" for the stone spiral staircase inside. The structure, because of its unusual placement on the platform and round shape (the others are rectangular, in keeping with Mayan practice), is theorized to be a proto-observatory with doors and windows aligned to astronomical events, specifically around the path of Venus as it traverses the heavens.

Akab Dzib

Located to the east of the Caracol, Akab Dzib means, in Maya, "The House of Mysterious Writing." An earlier name of the building, according to a translation of glyphs in the Casa Colorada, is Wa(k)wak Puh Ak Na, "the flat house with the excessive number of chambers,” and it was the home of the administrator of Chichén Itzá, kokom Yahawal Cho' K’ak’.^[22] INAH completed a restoration of the building in 2007. It is relatively short, only 6 meters high, and is 50 meters in length and 15 meters wide. The long, western-facing facade has seven doorways. The eastern facade has only four doorways, broken by a large staircase that leads to the roof. This apparently was the front of the structure, and looks out over what is today a steep, but dry, cenote. The southern end of the building has one entrance. The door opens into a small chamber and on the opposite wall is another doorway, above which on the lintel are intricately carved glyphs—the “mysterious” or “obscure” writing that gives the building its name today. Under the lintel in the door jamb is another carved panel of a seated figure surrounded by more glyphs. Inside one of the chambers, near the ceiling, is a painted hand print.

Old Chichen

"Old Chichen" is the nickname for a group of structures to the south of the central site. It includes the Initial Series Group, the Phallic Temple, the Platform of the Great Turtle, the Temple of the Owls, and the Temple of the Monkeys.

Other structures

Chichen Itza also has a variety of other structures densely packed in the ceremonial center of about 5 square kilometres (1.9 sq mi) and several outlying subsidiary sites.

Caves of Balankanche

Approximately 4 km west of the Chichen Itza archaeological zone are a network of sacred caves known as Balankanche (Spanish: Gruta de Balankanche), Balamka'anche' in Modern Maya). In the caves, a large selection of ancient pottery and idols may be seen still in the positions where they were left in pre-Columbian times.

The location of the cave has been well known in modern times. Edward Thompson and Alfred Tozzer visited it in 1905. A.S. Pearse and a team of biologists explored the cave in 1932 and 1936. E. Wyllys Andrews IV also explored the cave in the 1930s. Edwin Shook and R.E. Smith explored the cave on behalf of the Carnegie Institution in 1954, and dug several trenches to recover potsherds and other artifacts. Shook determined that the cave had been inhabited over a long period, at least from the Preclassic to the post-conquest era.

On 15 September 1959, José Humberto Gómez, a local guide, discovered a false wall in the cave. Behind it he found an extended network of caves with significant quantities of undisturbed archaeological remains, including pottery and stone-carved censers, stone implements and jewelry. INAH converted the cave into an underground museum, and the objects after being catalogued were returned to their original place so visitors can see them in situ.

Archaeological investigations

Chichen Itza entered the popular imagination in 1843 with the book Incidents of Travel in Yucatan by John Lloyd Stephens (with illustrations by Frederick Catherwood). The book recounted Stephens’ visit to Yucatan and his tour of Maya cities, including Chichén Itzá. The book prompted other explorations of the city. In 1860, Desire Charnay surveyed Chichén Itzá and took numerous photographs that he published in Cités et ruines américaines (1863).

In 1875, Augustus Le Plongeon and his wife Alice Dixon Le Plongeon visited Chichén, and excavated a statue of a figure on its back, knees drawn up, upper torso raised on its elbows with a plate on its stomach. Augustus Le Plongeon called it “Chaacmol” (later renamed “Chac Mool,” which has been the term to describe all types of this statuary found in Mesoamerica). Teobert Maler and Alfred Maudslay explored Chichén in the 1880s and both spent several weeks at the site and took extensive photographs. Maudslay published the first long-form description of Chichen Itza in his book, Biologia Centrali-Americana.

In 1894 the United States Consul to Yucatán, Edward H. Thompson purchased the Hacienda Chichén, which included the ruins of Chichen Itza. For 30 years, Thompson explored the ancient city. His discoveries included the earliest dated carving upon a lintel in the Temple of the Initial Series and the excavation of several graves in the Ossario (High Priest’s Temple). Thompson is most famous for dredging the Cenote Sagrado (Sacred Cenote) from 1904 to 1910, where he recovered artifacts of gold, copper and carved jade, as well as the first-ever examples of what were believed to be pre-Columbian Maya cloth and wooden weapons. Thompson shipped the bulk of the artifacts to the Peabody Museum at Harvard University.

In 1913, archaeologist Sylvanus G. Morley persuaded the Carnegie Institution to fund an extensive archaeological project at Chichen Itza, which included mapping the ruins and restoring several of the monuments. The Mexican Revolution and the following government instability prevented the Carnegie from beginning work until 1924. Over the course of 10 years, the Carnegie researchers excavated and restored the Temple of Warriors and the Caracol. At the same time, the Mexican government excavated and restored El Castillo and the Great Ball Court.

In 1926, the Mexican government charged Edward Thompson with theft, claiming he stole the artifacts from the Cenote Sagrado and smuggled them out of the country. The government seized the Hacienda Chichén. Thompson, who was in the United States at the time, never returned to Yucatán. He wrote about his research and investigations of the Maya culture in a book People of the Serpent published in 1932. He died in New Jersey in 1935. In 1944 the Mexican Supreme Court ruled that Thompson had broken no laws and returned Chichen Itza to his heirs. The Thompsons sold the hacienda to tourism pioneer Fernando Barbachano Peon, and his heirs own the property today.

There have been two later expeditions to recover artifacts from the Cenote Sagrado, in 1961 and 1967. The first was sponsored by the National Geographic, and the second by private interests. Both projects were supervised by Mexico's National Institute of Anthropology and History (INAH). INAH has conducted an ongoing effort to excavate and restore other monuments in the archaeological zone, including the Ossario, Akab D’zib, and several buildings in Chichén Viejo (Old Chichen).

Tourism

Tourism has been a factor at Chichen Itza for more than a century. John Lloyd Stephens, who popularized the Maya Yucatan in the public’s imagination with his book Incidents of Travel in Yucatan, inspired many to make a pilgrimage to Chichén Itzá. Even before the book was published, Benjamin Norman and Baron Emanuel von Friedrichsthal traveled to Chichen after meeting Stephens, and both published the results of what they found. Friedrichsthal was the first to photograph Chichen Itza, using the the recently invented daguerreotype.

After Edward Thompson in 1894 purchased the Hacienda Chichén, which included Chichen Itza, he received a constant stream of visitors. In 1910 he announced his intention to construct a hotel on his property, but abandoned those plans, probably because of the Mexican Revolution.

In the early 1920s, a group of Yucatecans, led by writer/photographer Francisco Gomez Rul, began working toward expanding tourism to Yucatán. They urged Governor Felipe Carrillo Puerto to build roads to the more famous monuments, including Chichen Itza. In 1923, Governor Carrillo Puerto officially opened the highway to Chichen Itza. Gomez Rul published one of the first guidebooks to Yucatán and the ruins.

Gomez Rul's son-in-law, Fernando Barbachano Peon (a grandnephew of former Yucatán Governor Miguel Barbachano), started Yucatán’s first official tourism business in the early 1920s. He began by meeting passengers that arrived by steamship to Progreso, the port north of Merida, and persuading them to spend a week in Yucatán, after which they would catch the next steamship to their next destination. In his first year Barbachano Peon reportedly was only able to convince seven passengers to leave the ship and join him on a tour. In the mid-1920s Barbachano Peon persuaded Edward Thompson to sell 5 acres (20,000 m²) of property next to Chichen for a hotel. In 1927, the Mayaland Hotel opened, just north of the Hacienda Chichén, which had been taken over by the Carnegie Institution.

In 1944, Barbachano Peon purchased all of the Hacienda Chichén, including Chichen Itza, from the heirs of Edward Thompson. Around that same time the Carnegie Institution completed its work at Chichen Itza and abandoned the Hacienda Chichén, which Barbachano turned into another seasonal hotel.

In 1972, Mexico enacted the Ley Federal Sobre Monumentos y Zonas Arqueológicas, Artísticas e Históricas (Federal Law over Monuments and Archeological, Artistic and Historic Sites) that put all the nation's pre-Columbian monuments, including those at Chichen Itza, under federal ownership. There were now hundreds, if not thousands, of visitors every year to Chichen Itza, and more were expected with the development of the Cancún resort area to the east.

In the 1980s, Chichen Itza began to receive an influx of visitors on the day of the spring equinox. Today several thousand show up to see the light-and-shadow effect on the Temple of Kukulcan in which the feathered serpent god supposedly can be seen to crawl down the side of the pyramid.

Chichen Itza, a UNESCO World Heritage Site, is the second-most visited of Mexico's archaeological sites. The archaeological site draws many visitors from the popular tourist resort of Cancún, who make a day trip on tour buses. In 2007, Chichen Itza's El Castillo was named one of the New Seven Wonders of the World after a worldwide vote. Despite the fact that the vote was sponsored by a commercial enterprise, and that its methodology was criticized, the vote was embraced by government and tourism officials in Mexico who project that as a result of the publicity the number of tourists expected to visit Chichen will double by 2012. The ensuing publicity re-ignited debate in Mexico over the ownership of the site, with some representatives of the government such as the secretary of the parliamentary culture committee, Jose Alfonso Suarez del Real, calling for the land to be put in public ownership, by expropriation if necessary.

Over the past several years, INAH, which manages the site, has been closing monuments to public access. While visitors can walk around them, they can no longer climb them or go inside their chambers. The most recent was El Castillo, which was closed after a San Diego, Calif., woman fell to her death in 2006. wikipedia

Click on images for fullscreen interactive 360 degree panoramas

The Taj Mahal (pronounced /tɑdʒ mə'hɑl/ ---- Hindi: ताज महल; Persian/Urdu: تاج محل) is a mausoleum located in Agra, India, built by Mughal Emperor Shah Jahan in memory of his favorite wife, Mumtaz Mahal.

The Taj Mahal (also "the Taj") is considered the finest example of Mughal architecture, a style that combines elements from Persian, Ottoman, Indian, and Islamic architectural styles. In 1983, the Taj Mahal became a UNESCO World Heritage Site and was cited as "the jewel of Muslim art in India and one of the universally admired masterpieces of the world's heritage."

While the white domed marble mausoleum is its most familiar component, the Taj Mahal is actually an integrated complex of structures. Building began around 1632 and was completed around 1653, and employed thousands of artisans and craftsmen. The Persian architect, Ustad Ahmad Lahauri is generally considered to be the principal designer of the Taj Mahal.

In 1631, Shah Jahan, emperor during the Mughal empire's period of greatest prosperity, was griefstricken when his third wife, Mumtaz Mahal, died during the birth of their fourteenth child, Gauhara Begum. The court chronicles of Shah Jahan's grief illustrates the love story traditionally held as an inspiration for Taj Mahal. The construction of Taj Mahal begun soon after Mumtaz's death with the principal mausoleum completed in 1648. The surrounding buildings and garden were finished five years later. Emperor Shah Jahan himself described the Taj in these words:

Should guilty seek asylum here,
Like one pardoned, he becomes free from sin.
Should a sinner make his way to this mansion,
All his past sins are to be washed away.
The sight of this mansion creates sorrowing sighs;
And the sun and the moon shed tears from their eyes.
In this world this edifice has been made;
To display thereby the creator's glory.

Tomb of Humayun shares architectural similarities with the Taj Mahal

The Taj Mahal incorporates and expands on design traditions of Persian and earlier Mughal architecture. Specific inspiration came from successful Timurid and Mughal buildings including the Gur-e Amir (the tomb of Timur, progenitor of the Mughal dynasty, in Samarkand), Humayun's Tomb, Itmad-Ud-Daulah's Tomb (sometimes called the Baby Taj), and Shah Jahan's own Jama Masjid in Delhi. While earlier Mughal buildings were primarily constructed of red sandstone, Shah Jahan promoted the use of white marble inlaid with semi-precious stones, and buildings under his patronage reached new levels of refinement.

Architecture

The tomb

The focus of the Taj Mahal is the white marble tomb, which stands on a square plinth consisting of a symmetrical building with an iwan, an arch-shaped doorway, topped by a large dome. Like most Mughal tombs, basic elements are Persian in origin.

The base of the Taj is a large, multi-chambered structure

The base structure is a large, multi-chambered structure. The base is essentially a cube with chamfered edges and is roughly 55 meters on each side (see floor plan, right). On the long sides, a massive pishtaq, or vaulted archway, frames the iwan with a similar arch-shaped balcony.

On either side of the main arch, additional pishtaqs are stacked above and below. This motif of stacked pishtaqs is replicated on chamfered corner areas as well. The design is completely symmetrical on all sides of the building. Four minarets, one at each corner of the plinth, facing the chamfered corners, frame the tomb. The main chamber houses the false sarcophagi of Mumtaz Mahal and Shah Jahan; their actual graves are at a lower level.

The marble dome that surmounts the tomb is its most spectacular feature. Its height is about the same size as the base of the building, about 35 meters, and is accentuated as it sits on a cylindrical "drum" of about 7 metres high. Because of its shape, the dome is often called an onion dome (also called an amrud or guava dome). The top is decorated with a lotus design, which serves to accentuate its height as well. The shape of the dome is emphasised by four smaller domed chattris (kiosks) placed at its corners. The chattri domes replicate the onion shape of the main dome. Their columned bases open through the roof of the tomb and provide light to the interior. Tall decorative spires (guldastas) extend from edges of base walls, and provide visual emphasis to the height of the dome. The lotus motif is repeated on both the chattris and guldastas. The dome and chattris are topped by a gilded finial, which mixes traditional Persian and Hindu decorative elements.

The main dome is crowned by a gilded spire or finial. The finial, made of gold until the early 1800s, is now made of bronze. The finial provides a clear example of integration of traditional Persian and Hindu decorative elements. The finial is topped by a moon, a typical Islamic motif, whose horns point heavenward. Because of its placement on the main spire, the horns of moon and finial point combine to create a trident shape, reminiscent of traditional Hindu symbols of Shiva.

At the corners of the plinth stand minarets, the four large towers each more than 40 meters tall. The minarets display the Taj Mahal's penchant for symmetry. These towers are designed as working minarets, a traditional element of mosques as a place for a muezzin to call the Islamic faithful to prayer. Each minaret is effectively divided into three equal parts by two working balconies that ring the tower. At the top of the tower is a final balcony surmounted by a chattri that mirrors the design of those on the tomb. The minaret chattris share the same finishing touches, a lotus design topped by a gilded finial. Each of the minarets were constructed slightly outside of the plinth, so that in the event of collapse, a typical occurrence with many such tall constructions of the period, the material from the towers would tend to fall away from the tomb.

The tomb

The focus of the Taj Mahal is the white marble tomb, which stands on a square plinth consisting of a symmetrical building with an iwan, an arch-shaped doorway, topped by a large dome. Like most Mughal tombs, basic elements are Persian in origin.

The base of the Taj is a large, multi-chambered structure

The base structure is a large, multi-chambered structure. The base is essentially a cube with chamfered edges and is roughly 55 meters on each side (see floor plan, right). On the long sides, a massive pishtaq, or vaulted archway, frames the iwan with a similar arch-shaped balcony.

On either side of the main arch, additional pishtaqs are stacked above and below. This motif of stacked pishtaqs is replicated on chamfered corner areas as well. The design is completely symmetrical on all sides of the building. Four minarets, one at each corner of the plinth, facing the chamfered corners, frame the tomb. The main chamber houses the false sarcophagi of Mumtaz Mahal and Shah Jahan; their actual graves are at a lower level.

The marble dome that surmounts the tomb is its most spectacular feature. Its height is about the same size as the base of the building, about 35 meters, and is accentuated as it sits on a cylindrical "drum" of about 7 metres high. Because of its shape, the dome is often called an onion dome (also called an amrud or guava dome). The top is decorated with a lotus design, which serves to accentuate its height as well. The shape of the dome is emphasised by four smaller domed chattris (kiosks) placed at its corners. The chattri domes replicate the onion shape of the main dome. Their columned bases open through the roof of the tomb and provide light to the interior. Tall decorative spires (guldastas) extend from edges of base walls, and provide visual emphasis to the height of the dome. The lotus motif is repeated on both the chattris and guldastas. The dome and chattris are topped by a gilded finial, which mixes traditional Persian and Hindu decorative elements.

The main dome is crowned by a gilded spire or finial. The finial, made of gold until the early 1800s, is now made of bronze. The finial provides a clear example of integration of traditional Persian and Hindu decorative elements. The finial is topped by a moon, a typical Islamic motif, whose horns point heavenward. Because of its placement on the main spire, the horns of moon and finial point combine to create a trident shape, reminiscent of traditional Hindu symbols of Shiva.

At the corners of the plinth stand minarets, the four large towers each more than 40 meters tall. The minarets display the Taj Mahal's penchant for symmetry. These towers are designed as working minarets, a traditional element of mosques as a place for a muezzin to call the Islamic faithful to prayer. Each minaret is effectively divided into three equal parts by two working balconies that ring the tower. At the top of the tower is a final balcony surmounted by a chattri that mirrors the design of those on the tomb. The minaret chattris share the same finishing touches, a lotus design topped by a gilded finial. Each of the minarets were constructed slightly outside of the plinth, so that in the event of collapse, a typical occurrence with many such tall constructions of the period, the material from the towers would tend to fall away from the tomb.

Base, dome, and minaret

Finial

Main iwan and side pishtaqs

Simplified diagram of the Taj Mahal floor plan

Exterior decoration

Calligraphy on large pishtaq

The exterior decorations of the Taj Mahal are among the finest to be found in Mughal architecture. As the surface area changes, a large pishtaq has more area than a smaller one, and the decorations are refined proportionally. The decorative elements were created by applying paint or stucco, or by stone inlays or carvings. In line with the Islamic prohibition against the use of anthropomorphic forms, the decorative elements can be grouped into either calligraphy, abstract forms or vegetative motifs.

The calligraphy found in Taj Mahal are of florid thuluth script, created by Persian calligrapher Amanat Khan, who signed several of the panels. The calligraphy is made by jasper inlaid in white marble panels, and the work found on the marble cenotaphs in the tomb is extremely detailed and delicate. Higher panels are written slightly larger to reduce the skewing effect when viewing from below. Throughout the complex, passages from the Qur'an are used as decorative elements. Recent scholarship suggests that Amanat Khan chose the passages as well. The texts refer to themes of judgment and include:

As one enters through Taj Mahal Gate, the calligraphy reads "O Soul, thou art at rest. Return to the Lord at peace with Him, and He at peace with you."^[13][12]

Abstract forms are used especially in the plinth, minarets, gateway, mosque, jawab, and to a lesser extent, on the surfaces of the tomb. The domes and vaults of sandstone buildings are worked with tracery of incised painting to create elaborate geometric forms. On most joining areas, herringbone inlays define the space between adjoining elements. White inlays are used in sandstone buildings and dark or black inlays on the white marbles. Mortared areas of marble buildings have been stained or painted dark and thus creating a geometric patterns of considerable complexity. Floors and walkways use contrasting tiles or blocks in tessellation patterns.

Vegetative motifs are found at the lower walls of the tomb. They are white marble dados that have been sculpted with realistic bas relief depictions of flowers and vines. The marble has been polished to emphasise the exquisite detailing of these carvings. The dado frames and archway spandrels have been decorated with pietra dura inlays of highly stylised, almost geometric vines, flowers and fruits. The inlay stones are yellow marble, jasper and jade, leveled and polished to the surface of the walls.

Herringbone

Plant motifs

Spandrel detail

Incised painting

Interior decoration

Jali screen surrounding the cenotaphs

Tombs of Shah Jahan and Mumtaz Mahal

Cenotaphs, interior of Taj Mahal

The interior chamber of the Taj Mahal steps far beyond traditional decorative elements. Here the inlay work is not pietra dura, but lapidary of precious and semiprecious gemstones. The inner chamber is an octagon with the design allowing for entry from each face, though only the south garden-facing door is used. The interior walls are about 25 metres high and topped by a "false" interior dome decorated with a sun motif. Eight pishtaq arches define the space at ground level. As with the exterior, each lower pishtaq is crowned by a second pishtaq about midway up the wall. The four central upper arches form balconies or viewing areas and each balcony's exterior window has an intricate screen or jali cut from marble. In addition to the light from the balcony screens, light enters through roof openings covered by chattris at the corners. Each chamber wall has been highly decorated with dado bas relief, intricate lapidary inlay and refined calligraphy panels, reflecting in miniature detail the design elements seen throughout the exterior of the complex. The octagonal marble screen or jali which borders the cenotaphs is made from eight marble panels. Each panel has been carved through with intricate pierce work. The remaining surfaces have been inlaid with semiprecious stones in extremely delicate detail, forming twining vines, fruits and flowers.

Muslim tradition forbids elaborate decoration of graves and hence Mumtaz and Shah Jahan are laid in a relatively plain crypt beneath the inner chamber with their faces turned right and towards Mecca. Mumtaz Mahal's cenotaph is placed at the precise center of the inner chamber with a rectangular marble base of 1.5 meters by 2.5 meters. Both the base and casket are elaborately inlaid with precious and semiprecious gems. Calligraphic inscriptions on the casket identify and praise Mumtaz. On the lid of the casket is a raised rectangular lozenge meant to suggest a writing tablet. Shah Jahan's cenotaph is beside Mumtaz's to the western side. It is the only visible asymmetric element in the entire complex. His cenotaph is bigger than his wife's, but reflects the same elements: a larger casket on slightly taller base, again decorated with astonishing precision with lapidary and calligraphy that identifies Shah Jahan. On the lid of this casket is a traditional sculpture of a small pen box. The pen box and writing tablet were traditional Mughal funerary icons decorating men's and women's caskets respectively. Ninety Nine Names of God are to be found as calligraphic inscriptions on the sides of the actual tomb of Mumtaz Mahal, in the crypt including "O Noble, O Magnificent, O Majestic, O Unique, O Eternal, O Glorious... ". The tomb of Shah Jahan bears a calligraphic inscription that reads; "He traveled from this world to the banquet-hall of Eternity on the night of the twenty-sixth of the month of Rajab, in the year 1076 Hijri."

Arch of Jali

Delicate pierce work

Inlay detail

Detail of Jali

The garden

360° panoramic view of the Chahar Bagh gardens

The complex is set around a large 300-meter square charbagh, a Mughal garden. The garden uses raised pathways that divide each of the four quarters of the garden into 16 sunken parterres or flowerbeds. A raised marble water tank at the center of the garden, halfway between the tomb and gateway, with a reflecting pool on North-South axis reflects the image of the Taj Mahal. Elsewhere, the garden is laid out with avenues of trees and fountains.^[14] The raised marble water tank is called al Hawd al-Kawthar, in reference to "Tank of Abundance" promised to Muhammad. The charbagh garden, a design inspired by Persian gardens, was introduced to India by the first Mughal emperor Babur. It symbolizes four flowing rivers of Paradise and reflects the gardens of Paradise derived from the Persian paridaeza, meaning 'walled garden'. In mystic Islamic texts of Mughal period, paradise is described as an ideal garden of abundance with four rivers flowing from a central spring or mountain, separating the garden into north, west, south and east.

Walkways beside reflecting pool

Most Mughal charbaghs are rectangular with a tomb or pavilion in the center. The Taj Mahal garden is unusual in that the main element, the tomb, instead is located at the end of the garden. With the discovery of Mahtab Bagh or "Moonlight Garden" on the other side of the Yamuna, Archaeological Survey of India interprets that the Yamuna itself was incorporated into the garden's design and was meant to be seen as one of the rivers of Paradise. The similarity in layout of the garden and its architectural features such as fountains, brick and marble walkways, and geometric brick-lined flowerbeds with Shalimar's suggest that the garden may have been designed by the same engineer, Ali Mardan. Early accounts of the garden describe its profusion of vegetation, including roses, daffodils, and fruit trees in abundance. As the Mughal Empire declined, the tending of the garden declined as well. When the British took over the management of Taj Mahal, they changed the landscaping to resemble that of lawns of London.

Outlying buildings

The Great gate (Darwaza-i rauza) - gateway to the Taj Mahal

The Taj Mahal complex is bounded by crenellated red sandstone walls on three sides with river-facing side open. Outside these walls are several additional mausoleums, including those of Shah Jahan's other wives, and a larger tomb for Mumtaz's favorite servant. These structures, composed primarily of red sandstone, are typical of the smaller Mughal tombs of the era. The garden-facing inner sides of the wall are fronted by columned arcades, a feature typical of Hindu temples later incorporated into Mughal mosques. The wall is interspersed with domed kiosks (chattris), and small buildings that may have been viewing areas or watch towers like the Music House, which is now used as a museum.

The main gateway (darwaza) is a monumental structure built primarily of marble and is reminiscent of Mughal architecture of earlier emperors. Its archways mirror the shape of tomb's archways, and its pishtaq arches incorporate calligraphy that decorates the tomb. It utilizes bas-relief and pietra dura (inlaid) decorations with floral motifs. The vaulted ceilings and walls have elaborate geometric designs, like those found in the other sandstone buildings of the complex.

Taj Mahal mosque or masjid

At the far end of the complex, there are two grand red sandstone buildings that are open to the sides of the tomb. Their backs parallel western and eastern walls, and these two buildings are precise mirror images of each other. The western building is a mosque and its opposite is the jawab (answer) whose primary purpose was architectural balance and may have been used as a guesthouse. The distinctions between these two buildings include the lack of mihrab, a niche in a mosque's wall facing Mecca, in the jawab and that the floors of jawab have a geometric design, while the mosque floor was laid with outlines of 569 prayer rugs in black marble. The mosque's basic design is similar to others built by Shah Jahan, particularly to his Masjid-Jahan Numa, or Jama Masjid of Delhi, a long hall surmounted by three domes. The Mughal mosques of this period divide the sanctuary hall into three areas with a main sanctuary and slightly smaller sanctuaries on either side. At the Taj Mahal, each sanctuary opens onto an enormous vaulting dome. These outlying buildings were completed in 1643.

Construction

Ground layout of the Taj Mahal

The Taj Mahal was built on a parcel of land to the south of the walled city of Agra. Shah Jahan presented Maharajah Jai Singh with a large palace in the center of Agra in exchange for the land. An area of roughly three acres was excavated, filled with dirt to reduce seepage and leveled at 50 meters above riverbank. In the tomb area, wells were dug and filled with stone and rubble as the footings of the tomb. Instead of lashed bamboo, workmen constructed a colossal brick scaffold that mirrored the tomb. The scaffold was so enormous that foremen estimated it would take years to dismantle. According to the legend, Shah Jahan decreed that anyone could keep the bricks taken from the scaffold, and thus it was dismantled by peasants overnight. A fifteen kilometer tamped-earth ramp was built to transport marble and materials to the construction site. Teams of twenty or thirty oxen were strained to pull blocks on specially constructed wagons. An elaborate post-and-beam pulley system was used to raise the blocks into desired position. Water was drawn from the river by a series of purs, an animal-powered rope and bucket mechanism, into a large storage tank and raised to large distribution tank. It was passed into three subsidiary tanks, from which it was piped to the complex.

The plinth and tomb took roughly 12 years to complete. The remaining parts of the complex took an additional 10 years and were completed in order of minarets, mosque and jawab and gateway. Since the complex was built in stages, discrepancies exist in completion dates due to differing opinions on "completion". For example, the mausoleum itself was essentially complete by 1643, but work continued on the rest of the complex. Estimates of the cost of the construction of Taj Mahal vary due to difficulties in estimating construction costs across time. The total cost of construction has been estimated to be about 32 million Rupees at that time which now runs into trillions of Dollars if converted to present currency rates.

The Taj Mahal was constructed using materials from all over India and Asia. Over 1,000 elephants were used to transport building materials during the construction. The translucent white marble was brought from Rajasthan, the jasper from Punjab, jade and crystal from China. The turquoise was from Tibet and the Lapis lazuli from Afghanistan, while the sapphire came from Sri Lanka and the carnelian from Arabia. In all, twenty eight types of precious and semi-precious stones were inlaid into the white marble.

Artist's impression of the Taj Mahal, from the Smithsonian Institution

A labour force of twenty thousand workers was recruited across northern India. Sculptors from Bukhara, calligraphers from Syria and Persia, inlayers from southern India, stonecutters from Baluchistan, a specialist in building turrets, another who carved only marble flowers were part of the thirty-seven men who formed the creative unit. Some of the builders involved in construction of Taj Mahal are:

• The main dome was designed by Ismail Afandi (a.ka. Ismail Khan), of the Ottoman Empire and was considered as a premier designer of hemispheres and domes.
• Ustad Isa of Persia (Iran) and Isa Muhammad Effendi of Persia (Iran), trained by Koca Mimar Sinan Agha of Ottoman Empire, are frequently credited with a key role in the architectural design, but there is little evidence to support this claim.
• 'Puru' from Benarus, Persia (Iran) has been mentioned as a supervising architect.
• Qazim Khan, a native of Lahore, cast the solid gold finial.
• Chiranjilal, a lapidary from Delhi, was chosen as the chief sculptor and mosaicist.
• Amanat Khan from Shiraz, Iran was the chief calligrapher. His name has been inscribed at the end of the inscription on the Taj Mahal gateway.
• Muhammad Hanif was a supervisor of masons and Mir Abdul Karim and Mukkarimat Khan of Shiraz, Iran (Persia) handled finances and management of daily production.

History

Taj Mahal by Samuel Bourne, 1860.

An early color photograph of the Taj Mahal. Source:The National Geographic Magazine, March 1921

Protective wartime scaffolding

Soon after the Taj Mahal's completion, Shah Jahan was deposed by his son Aurangzeb and put under house arrest at nearby Agra Fort. Upon Shah Jahan's death, Aurangzeb buried him in the Taj Mahal next to his wife.

By the late 19th century, parts of the Taj Mahal had fallen badly into disrepair. During the time of the Indian rebellion of 1857, the Taj Mahal was defaced by British soldiers and government officials, who chiseled out precious stones and lapis lazuli from its walls. At the end of 19th century British viceroy Lord Curzon ordered a massive restoration project, which was completed in 1908.^[28][29]He also commissioned the large lamp in the interior chamber, modeled after one in a Cairo mosque. During this time the garden was remodeled with British-looking lawns that are visible today.^[30]

In 1942, the government erected a scaffolding in anticipation of an air attack by German Luftwaffe and later by Japanese Air Force. During the India-Pakistan wars of 1965 and 1971, scaffoldings were again erected to mislead bomber pilots. Its recent threats have come from environmental pollution on the banks of Yamuna River including acid rain due to the Mathura oil refinery, which was opposed by Supreme Court of India directives. The pollution has been turning the Taj Mahal yellow. To help control the pollution, the Indian government has set up the Taj Trapezium Zone (TTZ), a 10,400 square kilometer (6462.26 square mile) area around the monument where strict emissions standards are in place. In 1983, the Taj Mahal was designated a UNESCO World Heritage Site.

Tourism

The Taj Mahal attracts from 2 to 4 million visitors annually, with more than 200,000 from overseas. Most tourists visit in the cooler months of October, November and February. Polluting traffic is not allowed near the complex and tourists must either walk from parking lots or catch an electric bus. The Khawasspuras (northern courtyards) are currently being restored for use as a new visitor center. The small town to the south of the Taj, known as Taj Ganji or Mumtazabad, originally was constructed with caravanserais, bazaars and markets to serve the needs of visitors and workmen. Lists of recommended travel destinations often feature the Taj Mahal, which also appears in several listings of seven wonders of the modern world, including the recently announced New Seven Wonders of the World, a recent poll with 100 million votes

The grounds are open from 6 am to 7 pm weekdays, except for Friday when the complex is open for prayers at the mosque between 12 noon and 2 pm. The complex is open for night viewing on the day of the full moon and two days before and after , excluding Fridays and the month of Ramzan. For security reasons  only five items - water in transparent bottles, small video cameras, still cameras, mobile phones and small ladies' purses - are allowed inside the Taj Mahal.

Myths

Ever since its construction, the building has been the source of an admiration transcending culture and geography, and so personal and emotional responses to the building have consistently eclipsed scholastic appraisals of the monument.

Jean-Baptiste Tavernier, one of the first European visitors to the Taj Mahal

A longstanding myth holds that Shah Jahan planned a mausoleum to be built in black marble across the Yamuna river. The idea originates from fanciful writings of Jean-Baptiste Tavernier, a European traveller who visited Agra in 1665. It was suggested that Shah Jahan was overthrown by his son Aurangzeb before it could be built. Ruins of blackened marble across the river in Moonlight Garden, Mahtab Bagh, seemed to support this legend. However, excavations carried out in the 1990s found that they were discolored white stones that had turned black. A more credible theory for the origins of the black mausoleum was demonstrated in 2006 by archeologists who reconstructed part of the pool in the Moonlight Garden. A dark reflection of the white mausoleum could clearly be seen, befitting Shah Jahan's obsession with symmetry and the positioning of the pool itself.

No evidence exists for claims that describe, often in horrific detail, the deaths, dismemberments and mutilations which Shah Jahan supposedly inflicted on various architects and craftsmen associated with the tomb. Some stories claim that those involved in construction signed contracts committing themselves to have no part in any similar design. Similar claims are made for many famous buildings. No evidence exists for claims that Lord William Bentinck, governor-general of India in the 1830s, supposedly planned to demolish the Taj Mahal and auction off the marble. Bentinck's biographer John Rosselli says that the story arose from Bentinck's fund-raising sale of discarded marble from Agra Fort.

In 2000, India's Supreme Court dismissed P.N. Oak's petition to declare that a Hindu king built the Taj Mahal. Oak claimed that origins of the Taj, together with other historic structures in the country currently ascribed to Muslim sultans pre-date Muslim occupation of India and thus, have a Hindu origin. A more poetic story relates that once a year, during the rainy season, a single drop of water falls on the cenotaph, as inspired by Rabindranath Tagore's description of the tomb as "one tear-drop...upon the cheek of time". Another myth suggests that beating the silhouette of the finial will cause water to come forth. To this day, officials find broken bangles surrounding the silhouette.