Maharaja Ranjit Singh

            Opposite the fort entrance, to the west, is the mausoleum Maharaja Ranjit Singh, virtually the last native monarch of the Punjab.  It is a mixture of Hindu and Mahomedan architecture, substantially Hindu with Mahomedan details, and is built of stone in a plain, unpretending style.  The front of the doorway ha images of Ganesh, Devi and brahma, the Hindu deities, cut in red sand-stone.  The ceilings are gorgeously decorated with small convex mirrors, set in white cement.  The carved marble lotus flower in the central vault, set beneath a canopy, covers the ashes of the great Maharaja, and the smaller flowers of the same description around are in memory of his four wives and seven slave girls, who immolated themselves on the funeral pyre of their deceased lord.  The knobs representing the queens, are crowned, while plain knobs mark the sacrifices of the equally devoted but less legal wives, the slave girls.  Two more knobs re in honor of two pigeons who, being accidentally enveloped in the great mass of flames, were burnt, and are given the honor of satti, or self sacrifice.   A few drops of rain fell when the Maharajas body was in the course of burning, and the credulous believed that even the sky could not restrain shedding tears on the death of the much beloved Maharaja.

             The marble Baradari of Devi in one of the chambers, was the property of Maharani Jindan, mother of Dalip Singh, who, on her removal from Lahore, made a gift of it to the samadh.  In the small niches of the side walls are placed the marble images of the Hindu gods, which are worshipped by the disciples of the Guru.

             The building was commenced by Kharak Singh, but his untimely death prevented him from completing it.  Sher Singh executed part of the work, but it could not be finished until the latter period of Dalip Singh reign.  The marble arches of the interior were once in a dangerous state, but were clamped with iron, and strengthened with fresh materials, by order of Sir Donald McLeod,  late Lieutenant-Governor.  Within the enclosure of the samadh Sikh scriptures, over which is reverentially waved a chauri, or fan of peacock-feathers, an emblem of sanctity.  The Sitar, so fondly heard by Nanak from his faithful disciple Mardana, is played, and sacred hymns, describing the deeds of their valorous Gurus, are sung with fervor and enthusiasm.  The whole thing is done in a most orderly way the chartings are heard with absorbing attention, and solemn silence is observed throughout the proceedings.  The recitals over, the voluminous books are carefully wrapped up in cases of rich silk cloth, and the assembly departs, favorably impressed with the sacred scene, but still more thankful to their rulers, under whom, without fear of outward oppression, they enjoy the valued privilege of observing their religious rites.

             Two small domed buildings on the further side of the mausoleum are the memorials of Kharak Singh, the son, and Naunehal Singh, the grandson, of the Maharaja.