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Etmad-ud-daula's tomb, set in the midst of a classical char-bagh garden on the banks of the Yamuna, is a resplendent jewel box among all the magnificent structures built by the Mughal dynasty. One can imagine opening the jewel-box by taking off the lid which is the pavilion on top, and peering into a treasure trove of ornamental elements made from inlay and mosaic work, exquisite carving, both incise and relief, and stucco and paint work.

This is the tomb of Mirza Ghiyas Beg, and his wife, Asmat Begum. Mirza Ghiyas Beg was a nobelman from Persia who served in the court of Emperor Akbar, and was given the formal title of Etmad-ud-daula, the Lord of the Treasury. He was the father of Empress Noorjehan, who was married to Emperor Humayun, Akbar's son and successor. He died in Agra in 1622, and the tomb was built by Noorjehan in memory of her parents between 1622 and 1628.

The main structure stands on a raised square sandstone terrace measuring about 56m on the side, and just over 1m high. The tomb building has a square layout of about 22m side. It is symmetrical on all four sides. It consists of a central hall, which houses the tomb of Mirza Ghiyas Beg and his wife. Four rectangular chambers form the outer wall of the central hall, while four square chambers stand at the four corners, in which the tombs of other family members (including that of Empress Noorjehan's daughter, Ladli Begum) are located.

There is one central arch on each face of the wall, flanked by marble screens, and two arched windows closer to the corners. Four towers approximately 13m in height stand at the corners of the building. The towers are octagonal at the base, fusing into the walls of the structure, and rise to a round contour along its upper reaches. The towers are surmounted by marble kiosks.

A sandstone staircase leads to the first floor, where an elegant oblong dome is found surmounting a pavilion over the central hall. The pavilion is roofed by a square baradari having three arched openings on each side which are closed by jalis except in the middle of the north and south sides. It is protected by a chhajja above which is the chaukhandi (pyramidal) roof, crowned by lotus petals and kalash finials. This pavilion contains cenotaphs of plain marble without any inscriptions. There is a low marble screen railing which runs along the edge of the terrace, with overhanging eaves and corbels separating the lower floor from the upper. The cenotaphs and walls of the ground floor contain inscription in Persian. The wall inscriptions are from Quran and other holy texts, while the cenotaph inscriptions are stating the name and title of those interned. The cenotaphs in rich golden porphyry form an elegant contrast to the marble-themed walls all around.

Beautiful floral, stylized, arabesque and geometrical designs have been depicted on the whole exterior in inlay and mosaic techniques, in various pleasing tints and tones. Wine vase, dish and cup, cypress, honeysuckle, floral bouquets and other motifs, typical of the art of Jehangir, have been emphatically used. Some compositions have been inspired by the plant studies of Ustad Mansur Naqqash, the famous "fauna and flora" painter of Jehangir. Some stylized designs have also been done in exquisite carving, both incised and relief, giving the impression of delicate embroidery work done in ivory. Stucco and painting have been done in the interior showing animal and human figures in miniature form. There is no glazed tiling and the decoration is largely through the use of coloured stones.

The exterior of the mausoleum has both geometric patterns with motifs that include ewers, flower vases, and incense burners. The frescoes on the interior walls are even more elaborate. Floral patterns depicting cypresses, irises, poppies, tulips, lilies, and honeysuckle are interspersed with figs, pomegranates, and grapes, creating a representation of the gardens of paradise. The ceiling is embellished with incised painted and gilded stucco.

Chapters 48 and 73 of the Quran have been carved on the 64 panels on the external walls of the ground floor. The date of writing A.H. 1037 (1627 AD) is mentioned in the last panel. Chapter 67 of the Quran is inscribed on the 12 internal panels of the upper pavilion.

The tomb stands on the left bank of the Yamuna in the middle of a large garden in the char-bagh style. There is an enclosing wall around the garden, with the main entrance gate on the east, and ornamental gateways with prominent iwans built in the middle of the enclosing wall on the north and the south. A multi-storeyed open pleasure pavilion has been built on the western side, overlooking the Yamuna. These four structures which punctuate the compound wall are built in red stand stone with bold inlay designs in white marble.

The garden is square in layout, with a side of about 150m. It is divided into four quadrants by shallow water channels that have been sunk in the middle of raised stone paved pathways, that connect the gateways to the plinth in the center upon which the tomb stands. The garden was conceived of as a representation of paradise on earth. The garden was planted with fruit trees and aromatic herbs, for human consumption, along with cypresses, and flowering bushes. Recurring images of entwined cypress and fruit trees, representing life and eternity adorn the walls of the mausoleum. Water as a symbol of eternal life is also represented, with the four water channels within the garden standing for the four rivers of life - water, milk, wine, and honey. The water channels vanish beneath the mausoleum, and reappear on the opposite side in an uninterrupted straight line.