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This is plate no. 6 from Oriental Scenery.

Akbar started building the palace-fortress at Allahabad in 1583. It was his biggest fort. The Chalees Sotun, also known as the Hall of Forty Pillars, was built as a pleasure pavilion in the palace. Such pavilions had no walls and were cooled by water circulating in channels in the building and fountains playing around. It was placed high above the river so that cool air could flow through... This is plate no. 6 from Oriental Scenery.

Akbar started building the palace-fortress at Allahabad in 1583. It was his biggest fort. The Chalees Sotun, also known as the Hall of Forty Pillars, was built as a pleasure pavilion in the palace. Such pavilions had no walls and were cooled by water circulating in channels in the building and fountains playing around. It was placed high above the river so that cool air could flow through it. In the foreground there is a green landscape with bushes, trees and three human figures. Two kiosks are situated above the perforated terrace of the elegant baradari or pavillion in the second view. These kiosks were replicated by Thomas Repton when he designed a pheasantry for the Royal Pavillion at Brighton in 1806. This print is significant as a visual record of the pavilion, which no longer exists.

Thomas and his nephew William created a visual record of India that transcended the work of any other artists of the era. Their series of 144 hand-colored aquatints, which were published between 1795 and 1808, was an immediate commercial success in Britain, significantly expanding the public's understanding of India.

In 1786, the Daniells established a printing studio upon their arrival in Calcutta. The initial set of prints they produced depicted the metropolis, and the revenue generated from these prints was used to fund their travels throughout India. They emulated the success of the artist William Hodges, traveling through a significant portion of northern India and subsequently ascending to the Himalayas. In 1791, three years later, they returned to Calcutta with 150 oil paintings that had been completed. Some of their most exceptional works were produced during an additional eight-month tour of South India in 1792.

The Daniells typically collaborated, with William employing a camera obsucra to project an image onto paper, which the artist could then trace, to create the outlines. Thomas then applied the tonal washes and final flourishes.

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