As a tourist in Agra, the thing to do is visit the Taj Mahal last. Anything seen after the Taj will pale in comparison, however grand the edifice. So after the Agra Fort, and toward the end of our first day in that city, we visited the Tomb of I’timād-ud-Daulah, with Taj Mahal slated for early the next morning.

Go through a finely styled gate.

From there, it isn’t far to the mausoleum.

An exquisite work. How is carving in stone like that possible? It’s impossibly intricate. It’s also always compared to the top masterpiece that is the Taj, which is not far away. More modest than the Taj, but with some clear similarities. This tomb came first by a few decades, so it would be the inspiration. There is a reason the Tomb of I’timād-ud-Daulah is also called “Bachcha Taj” or the “Baby Taj.”

“What makes the tomb of Itimad-ud-Daulah stand out from its contemporary structures, undoubtedly is the overwhelming decorative technique that was used — its polychrome profuse ornamentation consisting of intricate florals, stylized arabesques, abstract geometrical designs, mosaic kaleidoscope techniques enriched with splendid ornamentation in semi precious and rare stones inlay and exquisite carvings that resembles the finest of lace,” explains Outlook Traveler.

“All these were mostly inspired by plant studies and motifs of vivid flora and fauna with a distinguished influence of Persian heritage drawn by masterful artisans and craftsmen of Persia who worked at the Mughal court.”

All that made me think of the outline for a bit of sketch comedy, though a bit that assumes that most people have heard of the Baby Taj, and how it compares with the regular full-sized Taj. So not a realistic idea for a sketch that North Americans or western Europeans might respond to. Still, imagine Mitchell and Webb doing the following. Or rather an Indian comic duo equivalent, to abide by modern sensibilities. Say, Mitchell-like and Webb-like. There must be someone.

The setup would be the architect hired to design Tomb of I’timād-ud-Daulah has submitted plans – which are visible to the audience – and they look suspiciously like the Taj Mahal as we know it. The architect meets with the Grand Vizier to discuss the plans (would that actually happen? Never mind, the rule of funny). I imagine Mitchell-like would be the architect, Webb-like the Grand Vizier.

Grand Vizier — We rather like your design, but we want a few tweaks.

Architect — Tweaks?

— Yeah, you know, little things. But we do think your design is wonderful. Too wonderful, in fact.

— What does that mean? What do you want to change?

— Well, it’s a bit large.

— Large?

— Yes, the building. The main one. We were hoping for something, you know, a bit more modest. Yes, that’s it. Modest. Scale it down.

— But it wouldn’t be the same.

— And the dome. That’s a little much, don’t you think?

— No dome?

— Well, something should be up there. Let’s call it a roof element. Your dome’s just a little grand.

— But this is going to be the tomb of the great I’timād-ud-Daulah! The father-in-law of the emperor! Grand Vizier before you!

— And don’t we know it. A great man, for sure. But do you know how much stonemasons cost these days? I mean, really good ones. Oh, and don’t worry, we like the four minarets. That’s a classic. But those should be smaller too.

— Grand Vizier, I object. If I do say so myself, I’ve designed one of the greatest buildings in the world! If we make it smaller, it wouldn’t be that. It would be just another tomb.

— Well, now. Who is it that is paying you?

— You are, Grand Vizier.

— And who could, let’s say, make things pretty uncomfortable for you? We still have some space in our dungeons.

— You could, Grand Vizier.

— So…

— Smaller it is, Grand Vizier. More modest. Yes.