Delhi: History and architecture | Hindustan Times
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Delhi: History and architecture

Updated On Dec 11, 2011 02:21 AM IST
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Plaza Cinema, 1952: Most of the cinemas of British New Delhi had European names. Cecil de Mille’s film The Greatest Show on Earth, running at Plaza when this picture was taken, was released in 1952. Courtesy: Press Information Bureau, New Delhi expand-icon View Photos in a new improved layout
Updated on Dec 11, 2011 02:21 AM IST

Plaza Cinema, 1952: Most of the cinemas of British New Delhi had European names. Cecil de Mille’s film The Greatest Show on Earth, running at Plaza when this picture was taken, was released in 1952. Courtesy: Press Information Bureau, New Delhi

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North and South Block, 1926: Photograph taken from the Government House. Despite the apparent mess, the vista along Kingsway (now Rajpath) is clearly visible. Courtesy: British Library, London expand-icon View Photos in a new improved layout
Updated on Dec 11, 2011 02:21 AM IST

North and South Block, 1926: Photograph taken from the Government House. Despite the apparent mess, the vista along Kingsway (now Rajpath) is clearly visible. Courtesy: British Library, London

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The Tis Hazari Railway Station, 1911: This rail line anticipated the Metro, being one of several small stations built to link the venue of the 1911-1912 Coronation Durbar, extending from Kashmiri Gate to Azadpur. Courtesy: Bates and Hindmarch, Private Collection expand-icon View Photos in a new improved layout
Updated on Dec 11, 2011 02:21 AM IST

The Tis Hazari Railway Station, 1911: This rail line anticipated the Metro, being one of several small stations built to link the venue of the 1911-1912 Coronation Durbar, extending from Kashmiri Gate to Azadpur. Courtesy: Bates and Hindmarch, Private Collection

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The Shrine of Nizamuddin Auliya, 1890: Photograph by GW Lawrie & Co., 1890s. The hangings make for a most striking pattern round the shrine. Courtesy: British Library, London expand-icon View Photos in a new improved layout
Updated on Dec 11, 2011 02:21 AM IST

The Shrine of Nizamuddin Auliya, 1890: Photograph by GW Lawrie & Co., 1890s. The hangings make for a most striking pattern round the shrine. Courtesy: British Library, London

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The Faiz Bazaar, 1840:By a Rajasthani artist, c.1840. The view is taken from the chowk at the beginning of the Faiz Bazaar. The procession heading towards the Delhi Gate suggests that this is of the emperor on his way to his country palace at the Qutb Minar. Private collection, courtesy Francesca Galloway, London expand-icon View Photos in a new improved layout
Updated on Dec 11, 2011 02:21 AM IST

The Faiz Bazaar, 1840:By a Rajasthani artist, c.1840. The view is taken from the chowk at the beginning of the Faiz Bazaar. The procession heading towards the Delhi Gate suggests that this is of the emperor on his way to his country palace at the Qutb Minar. Private collection, courtesy Francesca Galloway, London

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Jain Temple, 1858: Photograph by Felice Beato, 1858. The Sri Digambar Jain Naya Mandir has been rebuilt many times. The doorway to it is dated to 1807. It is situated between Chandni Chowk and the Jama Masjid. Courtesy: Victoria and Albert Museum, London expand-icon View Photos in a new improved layout
Updated on Dec 11, 2011 02:21 AM IST

Jain Temple, 1858: Photograph by Felice Beato, 1858. The Sri Digambar Jain Naya Mandir has been rebuilt many times. The doorway to it is dated to 1807. It is situated between Chandni Chowk and the Jama Masjid. Courtesy: Victoria and Albert Museum, London

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The Qutb Minar 1820: By the Agra artist Latif, c. 1820. Standing 72.5 metres tall, the minaret was begun by Qutb al-Din Aibak in 1198 and completed by his successor Iltutmish in 1215. In this view Latif concentrates on the damage done to the stonework. Courtesy: British Library, London expand-icon View Photos in a new improved layout
Updated on Dec 11, 2011 02:21 AM IST

The Qutb Minar 1820: By the Agra artist Latif, c. 1820. Standing 72.5 metres tall, the minaret was begun by Qutb al-Din Aibak in 1198 and completed by his successor Iltutmish in 1215. In this view Latif concentrates on the damage done to the stonework. Courtesy: British Library, London

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