End elevation of the cenotaph of Akbar. Sikandra.

Executed in fine, light ink lines, the drawing resembles an architectural blueprint. The artist rendered the marble surface with restrained detail, highlighting the geometric base and the vine-like border with delicate precision. Curved elements beneath the main platform are suggested rather than fully modeled, maintaining clarity. The absence of shading or color underscores its documentary purpose, prioritizing accuracy over aesthetic embellishment.

The drawing was produced by Delhi-trained artists working in Calcutta during the British East India Company’s expansion. Commissioned by Colonel Pownell Phipps, it became part of a portfolio later donated by his son, Colonel R.W. Phipps. The collection entered institutional holdings as a valuable record of Mughal architecture at a time when many structures were deteriorating or being altered under colonial administration.

Created during a period of heightened British interest in Indian antiquities, this drawing reflects early 19th-century antiquarian practices. Similar records were made of Agra’s forts, mosques, and tombs, often for administrative or scholarly use. The focus on elevation views—rather than panoramic scenes—reveals a preference for structural documentation, aligning with surveying traditions emerging in colonial India.

As part of a larger set of architectural studies, this drawing contributes to the historical archive of Mughal monuments before extensive 19th-century restorations. Its methodical approach influenced later documentation efforts by institutions like the Archaeological Survey of India. Today, it remains a key reference for scholars studying the original form of Akbar’s tomb and the evolution of colonial visual scholarship.