Besides the miraculous architectural features and the elaborate ornamentation of the Taj Mahal, many additional features, which can often be overlooked, help complement and enhance this spectacular monument.

Background
Unlike other Mughal tombs, the garden of the Taj Mahal has been laid out entirely in front of the tomb and does not play any part in the 'background'. Instead, the background has been provided by the sky. This background is not constant; it changes its colour and texture more than often, and the Taj is always presented in a variety of tints and moods.

Marble
The Makrana marble used is of such a nature that it takes on incredibly subtle variations of tint and tone, according to the changes in the light, thus picturing the passing colour of the moment.

Soaring Effect
The colossal height of the tomb, along with its pyramidal appearance (which is obtained by the receding plinths, the square tomb and the bulbous dome, along with the pilasters surmounted by pinnacles, the tapering minarets and the decreasing volume of the dome culminating in a kalasa) give it a soaring effect. It appears as if it is about to rise into the sky...an ethereal quality full of lightness and grace.

Correction of Illusionary Effects
The indigenous builders of the Taj Mahal fully understood the deceptive nature of the human eye. They knew that the reality and its perception and interpretation thereof differed. The plinth of the main tomb is 2'10'' high on an average. But the height varies at different places, particularly the central point between two piers being in each case 0.5" to 0.7" higher than the sides. This convexity has deliberately been given to the plinth in the centre of each arch, or else the building would have appeared as if it were falling down! The facades are not exactly at a right angle with the plinth, but are slightly inclined.

Fluted Pilasters
Sections in each facade have been demarcated by semi-octagonal pilasters that rise from the plinth of the main tomb. They have chevron patterns inlaid with black and yellow marble horizontally along their whole height. They appear to be fluted on each side though, as a matter of fact, there is no real fluting at all. They create a beautiful illusionary effect which the architect has very skilfully manipulated.

Uniform Size of Calligraphic Characters
The letter of the inscription around archways at the Taj Mahal, are generally supposed to become larger and larger above. On closer scrutiny, however, they are found to be of uniform size. Instead, the letters have been inscribed densely at the bottom, with little plain surface in between; the inscription becomes more and more sparse as it rises with more plain surface in between the letters. The diminution of the plain surfaces has been accurately calculated.

Forms and Lines
The composition of the forms and lines of the Taj Mahal is perfectly symmetrical. Here we meet with a beautiful admixture of lines, horizontal with vertical, and straight with curved - all harmoniously set together in the total unity. They adopt each other with amazing uniformity. The combination is entirely rhythmic and melodic.

Solids and Voids
The great depth has also been further suggested by the double arches, one over the other, on each side of the central portal. The solids and voids have very judiciously been distributed to provide a variety, yet an undiminished uniformity. These alcoves, the balconies in each minaret, the chhatris near the dome, and certain pronounced projections in each facade allow a beautiful play of light and shadow.

Chief Builders
Despite several controversies that claim that the Taj Mahal was designed by an Italian Geronimo Veroneo, or a French silversmith Austin de Bordeaux, the first real evidence of the architect's identity emerged in the 1930s when a seventeenth century manuscript called the Diwan-i-Muhandis was found to mention the Taj Mahal. This manuscript contains a collection of several poems written by Luft Allah, including several verses in which he describes his father, Ustad Ahmad from Lahore, as the architect of the Taj Mahal and the Red Fort at Delhi. Ahmad was a Persian engineer-astrologer.

Material Used
Along with the labourers flocking to Agra, materials for construction also began arriving : principally red sandstone from local quarries and marble dug from the hills of far-off Makrana, slightly southwest of Jaipur in Rajasthan. Although the treasury was well filled, such prodigious quantities of rare stuffs were required that caravans travelled to all corners of the empire and beyond in search of precious materials.


Building of Taj Mahal, Agra Taj Mahal Reservation Form