In Schoefft's iconic and famous painting the lost palace dominates the background appearing on the left side of the painting. Schoefft's image is invaluable because of the high vantage point and angle that it is painted from, revealing a significant number of details not visible in other ground-level views of the lost palace.

The simple rounded curves of the main palace arches on top of multiple columns contrast with the ornate arch of the building to the left of the palace. In the second archway from the left can be seen an soldier wearing a red coat standing at attention. Given his scale this indicated that the main arches were between 15 to 20 feet high. A large open second floor veranda extending the length of the building with doorways and arches. A group of people on the veranda enjoy a spectacular view. Another smaller veranda on a third floor is also visible higher up.

An unusual view painted from the south edge of the parkarma, the lost palace almost seems to be the main subject of the painting. The major structures appearing in this view from left to right are the Akal Takht, the Darshani Deori gateway, the lost palace and Darbar Sahib.

Often found on posters and prints this is perhaps the most popular classic image of Darbar Sahib. Carpenter's view prominently features an excellent view of the full frontage of the lost palace immediately to the left of Darbar Sahib.

The palace front façade but a beautiful and unusual intersection of linear and semi-circular curves. The elevation of the palace above the ground level of the parkarma can be seen with a series of steps from the parkarma leading up to the palace extend along the entire length of the palace. Only the first minaret column on the left edge of the palace has its dome on top intact. The second minaret column which is also visible in Schoeffts painting now appears flat on top indicating that its dome top may have collapsed. A third similar column on the right also no longer has a dome on top. Amritsar is in a known earthquake zone, which may explain the missing domes. In the great Kangra earthquake of April 1905, the domes on both Ramgharia Bunga towers collapsed.

The artist of this view is anonymous and only identified as 'the wife of an Officer in the Queen's Service now with his regiment in India.' A very important image of the lost palace with the Dharshani Deori gateway on the left. With the end of the Sikh Empire and annexation of Punjab the lost palace (now called Kutwalee) was turned into a prison and Court House. An odd choice of use for such an important building within the presincts of the Darbar Sahib complex.

The steps leading up to the palace have now been removed and a large wall constructed in its place. Given the palaces new use as a court house and prison, free access from the palace to the parkarma below was no longer necessary.

British photographer Felice Beato took the earliest known photographs of the Darbar Sahib complex in the late 1850's. This photograph of the Darshani Deori gateway and the Lachi Ber tree in front of it where Guru Arjan used to sit also shows a section of the lost palace behind and to the right edge of the frame. We are fortunate to have this important photographic evidence as the majority of photographs of the Darbar Sahib complex date to the late 1860's onwards, a time period when the lost palace had already been demolished by the British.

Although only showing a partial view of the palace, Beto's photograph provides critical photographic evidence that the earlier paintings by Schoefft, Carpenter and a Lady were all accurate in providing correct renditions of the palaces unusual architecture and multi-columned grand arches.

British photographer Felice Beato took some of the earliest known photographs of the Darbar Sahib complex in the late 1850's. The lost palace can be seen in the north-west corner of the sacred tank, behind the large tree. We are fortunate to have this important photographic evidence as the majority of photographs of the Darbar Sahib complex date to the late 1860's onwards, a time period when the lost palace had already been demolished by the British.

A large portion of the upper floors and three minaret towers defining the boundaries of the lost palace are clearly visible in this very rare photograph. This view provides invaluable details of the front and side of the palace not visible from the other side as depicted in August Schoeffts painting.

In another of the series of photographs at Darbar Sahib by photographer Felice Beato we see an aerial view of the Darbar Sahib complex taken from the Baba Atal tower. The entire lost palace is visible in this photograph and its majestic size and scale is breathtaking even in this distant view.

An unusual view of the entire Darbar Sahib complex combining two dimensional and three dimensional perspectives. The lost palace appears as the largest structure of its kind on the entire parkarma surrounding the sacred pool.

Notice that the white marble pavement stops in front of the palace. This correctly dates the painting as work on paving the Parkarma was a decades long project first started under Maharaja Ranjit Singh in 1837, continued by his successors and then various Sikh administrators under British rule.

An interesting and unusual plan view of the Darbar Sahib complex. The lost palace appears in the lower right hand side of the parkarma. Comparing this to the previous perspective view of the complex we can see that the entire parkarma has now been paved. This helps date this painting to the late 19th century. The artist likely copied an older painting showing existing structures including the lost palace, but updating the image by including the newly paved marble parkarma along the temple perimeter.

Notice the courtyard to the right of the palace. In a 1836 French engraving which does not show the palace, this courtyard is shown extending the entire length of where the palace structure now appears in this view.

A miniature painting only 60mm in diameter of Darbar Sahib also features the lost palace in the background. Among the last set of images of the palace prior to its demolition.

In a scene similar to August Schoeffts earlier epic painting of Maharaja Ranjit Singh we see the Darbar Sahib complex and lost palace from the same balcony portrayed years later as it would have appeared in the early 1860's.

Notice the incorrect scale that the artist has used in portraying the human figures on the parkarma foreground and background in relation to the palace.