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not so much sing their own songs as steal the lad's song from his very lips and sing it for him. It seemed to him almost that they were not birds pursuing their own business in their own ways, but his own thoughts, embodied; so that the great blue morning arch of the sky was his brain, and these were his thoughts made audible and visible. The very earth he trod seemed peculiarly his own to-day. Then came high noon, and the heat of the day and the boy's hunger brought his dancing feet to quiet, so he threw himself down amongst the towering marguerites and the sorrel and the wild twining convolvulus. Drinking from the tin cup he had filled at the stream, eating his sandwiches, incense of flowers came streaming round him like adoration. But when the gnats and all the little flying folk stretched their wings and stings again after the torpor of the noon, he rose to walk downstream eastwards, away from the sun.

So he walked on for two hours or more, until he reached the confluence of the stream and the river—the river which, miles farther down, was to be seized by the masculine embrace of the big town's bridges, only to evade it again with the ripple and backward glance of a woman. He halted a little while, listening to the petulance of the stream as it found this greater influence waiting to annihilate its own personal flow and bear it away along an unanticipated road. He heard the faint remonstrances drowned; saw the frown and shudder of apprehension overwhelmed. A shadow drifted across his sky. All day he had been the very stream no less than the mere water running over its stones had been the stream. There was a river, then, waiting for him too, inevitable, somewhere beyond the dawn?

The shadow no sooner fell than it thinned and was gone. A swift bird feathering the water, the great spears of a regiment of iris caught his eye, and he was attuned again to the symphony of the day. He spent the night in the angle of a hedge under a thick tree. He had lived too vividly all day to

dream that night. He slept almost as one dead.

In the morning he was early astir. Strengthened by the hot food they gave him at a farmhouse, he set out staunchly towards the chance of the new day.

Could it be that there was less wildness in the bird-singing to-day? Could it be that the grass was less green, though the sky was as cloudless as yesterday? Yet how was it that there was not the same lift in his feet? How had the horizons drawn in closer around him? It was now along a land of rivers that he was walking. Illimitably down the banks stretched the flowering orchards. It seemed that the river was a grand procession making its way to some place, with low music from many instruments; there were ladies on either side in chiffons of lilac and sunset, hair steeped in perfume. Yet when slight winds blew and blossom-petals fell down fainter than snow a numbness chilled him. Spring was going away, but where was the fruition of summer?

Towards the hot noon he saw a group of boys strip and splash among the reeds and swim out to mid-stream. They panted towards him and cried out to him to join their swimming. Yesterday he would have plunged after them in ten seconds, but now something held him back. A division deeper than the river lay between them and him. He saw them emerge from the water and their glistening bodies leap-frogging among the clover and buttercups. Before the bend of the river carried him away he saw them against the blue water, plaiting wreaths of flowers like little pagans of the buried time.

After he had eaten and rested awhile, he set out to finish his journey. Not many hours of daylight remained, and he allowed them only reluctantly to slip away from him, as if there were some quality in them which would never more invest the day. Birds' wings with less strength clove the distances. In a sheep-fold by the river the bells set up a prolonged and sleepy jangling. Lambs lay down to dream of infinite rows of

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181

turnip-tops, linking planet with planet. The river-rats who had been on holiday came home again. Branches stirred everywhere under the tiny claws of returned birds. From the red calyx of the western sky rose-pink petals opened out to touch the fringe of the east. Glamour of sunset and the beginnings of sleep held the deep river and the mistiest blade of grass held the lad's heart with a sorrow he had not known before.

At last even colour had almost vanished from the world. The beech-woods melted like dreams into the darkness. The broad shoulders of elms no longer held the arch of the sky. Then there came to the lad's ears a wash of water from afar, rushing downward along the river. Reeds caught up the sound, and grasses and leaves, till the whole

evening shook to the sound of washing waters. Until at length, the boy thought, there came out of the darkness of the west into the darkness of the east a low black shape floating along the river, a barge at whose bow one dim light gleamed. Amidships a tall figure was standing, his face and hands shrouded with shadow. As the barge floated on, the cargo roped to the deck became faintly visible. There were bales of hidden merchandise, and some were wrapped round with cloths of satin and silk, set with fierce jewels that stabbed the night, and some with coarse canvas, soiled and gaping. Then the lad cried out loudly, "What is the cargo you are carrying?" And a voice came back like the wash of waters, "Your boyhood, master! I am carrying your boyhood to the sea!"

## From My Note-book

By THE EDITOR

The stern black-bearded Kings of Fleet Street still sit round, waiting wolvishly to pounce upon our devoted selves. This time it is not that the NEWS-LETTER has rocked the Government to its foundations with a criticism, or split an infinitive in an editorial. It began with a *gaffe* in one of the London dailies about the desperate shifts to which National Labour was reduced in order to economise. Reorganisation, reduced staff and so forth. A day or two later I was rung up after dinner by a Press agency. Why had the NEWS-LETTER not appeared this week? I could almost hear my benevolent interlocutor at the other end of the wire moistening his pencil for the obituary notice. . . . I explained that it happened not to be publication week and that a fortnightly comes out every *other* week, and my inquirer thanked me politely and rang off. I wonder what it will be next time.

* * *

*Inside Europe*, by John Gunther, is a most readable compendium of anecdotes about European statesmen, but I am afraid I cannot

agree with the critics who have hailed it as an illuminating guide to modern Europe. It is smart, slick, superficial American journalism; no more. The account of Germany, for example, is ninety per cent. yarns about the Nazi chiefs —the sort of yarns one used to read about Al Capone in the great days of Chicago. They are good yarns and no doubt many of them are substantially accurate. But let any Englishman who may not have much first-hand knowledge of Germany and who is disposed to take these chapters as a penetrating analysis of modern Nazidom turn to the chapters on England, about which he does know something.

* * *

He will find here the familiar journalistic survey—the British climate, the English country house, the enigma of Mr. Baldwin and all the rest of it, seasoned indeed here and there with some good gossip, but nowhere in the least penetrating or novel. But he will find no knowledge that the author could not have acquired by reading two or three text-books, spending the inside of a week gossiping with

PREFACE.

THIS LITTLE BROCHURE has been published with a view to impart some information regarding the Bandel Church, the oldest Christian Church in Bengal. This year 1899, completes the tercentenary of its existence; and as preparations to celebrate the event have been made with fitting solemnities, the publication of this booklet will no doubt prove acceptable. Old Church records have been consulted, also every old calendar of the late Barretto & Co., at one time the leading merchants of Calcutta; and a pamphlet, entitled *Hooghly: Past and Present*, has been laid under contribution,—not to mention other sources of information. Perhaps some facts here enumerated may appear strange and marvellous, but bearing in mind that “Truth is stranger than Fiction” they will receive credence.

M. V. RODRIGUES,

November 1899.

Prior,

HISTORICAL FACTS

RELATING TO THE

Augustinian Convent of Bandel,
HOOGHLY.

THE EXACT DATE when the Portuguese first established themselves in Bengal is not known. But it is generally admitted by most historians that in 1537, Admiral Sampayo entered the river Hooghly, with nine Portuguese vessels, with the promised help to Emperor Mahmood, who, being hard pressed by the famous Sher Shah, had asked the Portuguese representative in Goa for assistance.

This help, however, came too late, and was therefore of no use to the Emperor. But, in consideration of their trouble and expense, he gave them permission to establish a factory; and accord-

2

HISTORICAL FACTS RELATING TO THE

ingly, Admiral Sampayo selected Hooghly as the
most suitable place for the purpose.

The factory soon grew into importance and
became a great centre of trade. To safeguard
this, the Portuguese, under Admiral Sampayo,
built a quadrangular fort at a place called Ghol-
ghat (afterwards corrupted Hooghly), about mid-
way between the present Jubilee Bridge and the
Hooghly Jail. Some traces of this ancient Lusi-
tanian hold are still visible in the bed of the river,
which, even up to the present day, attracts many
a curious traveller.

The exact date of the commencement of the
missionary labours by the Portuguese in Bengal
cannot also be ascertained. But as the Portuguese
conquests went always hand in hand with the pro-
pagation of the Gospel, it may be safely surmised
that it was not long before they commenced
this ennobling work.

Having secured the services of a small band of
Augustinian Friars, then the richest and the most
powerful religious body in Goa, the authorities
conceived the idea of making fresh conquests to
the Kingdom of Jesus Christ. About the year 1580
a certain Captain, named Tavares, a great favour-
ite with the Moghul Emperor Akbar, obtained

AUGUSTINIAN CONVENT OF BANDEL, HOOGHLY. 3

from him full liberty to preach the new faith
publicly, and also to erect churches for public
worship.

In 1599 a convent was erected in Bandel, a
village at a distance of about a mile from the fac-
tory, which soon became the head quarters of these
zealous missionaries, whence they sallied forth, far
and wide, to extend the kingdom of their Divine
Master.

They did not labour in vain, but added many
new souls to the true fold. In a short time two
other churches were erected within the limits of
the factory; a military chapel was added to the
newly built fort; and the poor were also provided
for by the establishment of an alms-house under the
title of *Santa casa da Misericordia*. This latter
institution served the double purpose of an
alms-house and of an educational establishment,
where many a youth, rich and poor, received the
benefits of a sound Christian education.

For nearly thirty years the Portuguese con-
tinued to prosper both in trade and commerce,
their factory was largely extended, and propor-
tionately they strengthened their fortifications,
which became in time a standing menace to the
Moghul Governor of Bengal, who, being jealous of

4

their power, sought for an opportunity to humiliate
them.

About the year 1622, Prince Harun, afterwards
Emperor Shah Jehan, revolted against his father
Emperor Jehangir, and knowing the superiority of
the Portuguese in military affairs, asked the Portu-
guese Governor to help him with some soldiers
and artillery, promising in return large tracts of
land and immense riches. Michael Rodrigues,
the then Governor of the factory, replied that
he could not think for a moment of helping a
rebel son against his own father, and sent him
away without any further ceremony. The Prince
ever forgave this taunt and insult, as will be
seen later on. The issue of the rebellion was
rather a doubtful one, but the old Emperor died,
and Shah Jehan ascended the throne in 1628.

His first thought on ascending the throne was
to adopt means to humiliate the Portuguese and
thus avenge himself for the insult he had received
eight years back. An opportunity soon presented
itself. His Subhadar in Bengal was a bitter
enemy of the Portuguese, and knowing his master's
bent of mind, reported to him that these Portu-
guese intruders, who had fortified their factory, and
had mounted it with cannon, had become insolent
and oppressive. The Emperor, who was seeking

5

an opportunity, at once gave orders for their imme-
diate extermination, and for this purpose vested
his Subhadar with all the necessary powers.

He soon collected together an army of about
10 to 15 thousand strong, and, marched upon the
Portuguese factory and laid siege to their fort.
The Governor had only 200 trained men under
him, but those, with the help of the Portuguese
gentlemen then in the factory, kept the enemy
in check for nearly a month. The Moghul Subha-
dar saw that even a very large army was no
match for a handful of well disciplined soldiers
with a plentiful supply of ammunition; and having
lost a good portion of his army, he decided
upon other plans; and raising the siege, retired to
his own head-quarters.

Having retired from the place, he, however,
lost no time in working upon his plans. He suc-
ceeded in bribing a vile Portuguese officer who, like
Judas of the Gospel, sold his master and his com-
rades for a few thousand pieces of silver. He
undertook to secretly let the enemy in, and fixed
the festival day of St. John the Baptist for the
purpose.

In the meantime, the enemy ruined the fortifi-
cations, and made other necessary preparations for

6

HISTORICAL FACTS RFLATING TO THE

a fresh assault. On the 24th of June, 1632, whilst
everybody was in the church attending the divine
service, the enemy secretly gained entrance into the
Fort, set fire to the arsenal, took possession of all
the arms and then blew up the fortifications.

The people who were panic-stricken were mas-
sacred without any mercy; the Governor was cap-
tured and burnt alive, and over a thousand men,
women and children were made prisoners of war,
and were carried to Delhi, then the metropolis of the
Moghul Empire. All the churches and other public
buildings were rased to the ground, the entire
factory being a complete wreck. Out of nearly 300
vessels then in port, it is said only a few succeeded
in escaping. The only place which escaped with
comparatively small damage was the Convent at
Bandel, situated as it was about a mile away from
the limits of the factory. Of the prisoners who
were carried to Delhi the young girls were added
to the harems of the Emperor and his nobles, the
elderly women were turned into slaves or domestic
servants, and the remainder, over four-hundred
men, were put into prison.

Amongst these latter were five Augustinian
Friars, four of whom were forthwith put to death
and remaining one, an old zealous Minister of God,
named Fre Joao da Cruz, was enjoined to persuade

7

his unfortunate countrymen to join the faith of
Islam. The old man, on the contrary, encouraged the
unfortunate prisioners to bear up their misfortunes
with a true Christian spirit, and tried by his sweet
discourses to soften as much as it was in his power
the rigours of an Oriental prison. The Emperor,
being apprised of this, ordered poison to be put into
his food. This taking no effect, he commanded him
to be imprisoned in a closed cell for a week, and to
be allowed no food whatsoever, thus intending to
take away his life by starvation. At the end of this
period, however, to his great chagrin and mortifica-
tion the jail authorities found the old man hale and
hearty. In fact, all the vile means adopted to get
rid of this venerable man failed for our Divine
Redeemer had chosen him as an instrument for the
glorification of his Spouse, our Holy Mother the
Church, as will be seen later on.

The Emperor, finding that all his efforts to
make them apostatise were of no avail, and urged
by the Empress, whose hatred to these brave Chris-
tians was most marked, sentenced all the prisoners,
including the old friar, to be publicly devoured by
wild animals.

A wild elephant was secured and kept in an
iron cage without food for a week; a day was fixed
for the public slaughter of these unfortunate Chris-

8

tians, a grand Durbar arranged, and a large arena prepared, at one end of which a large throne was erected for the Emperor and his retinue.

The brave Christians received the news of this monstrous decree with the greatest satisfaction, for they considered it a singular privilege to have an opportunity of shedding their blood for the sake of Him, who for the redemption of mankind, had shed His own to the very last drop. Bearing all this in mind, and admonished by their zealous pastor, they prepared themselves, as true and faithful followers of Jesus Christ, to meet their fate.

The day came, and people from all sides flocked to Delhi to witness this extraordinary spectacle. A public execution of these white idolators, as they called the Portuguese of the time, was a sight suited to their fanatical taste, and thus the day fixed was regarded as a national holiday. The ground surrounding the arena was one mass of populace, eagerly expecting the arrival of the Emperor. He was not long in coming to the scene. A flourish of trumpets soon announced his presence, and in a moment the throne prepared was occupied by him and his retinue. When everything was ready, the prisoners were brought out from their unearthly dungeons headed by the venerable Friar. All eyes were at once turned to these victims, but their countenance

9

depicted complete resignation, and not a faltering step was observable as they marched with a firm step into the arena. The prisoners having taken their place at one end of the arena directly opposite the Emperor's throne, a messenger from the Emperor came to Fre Joao da Cruz, and asked him if the prisoners had changed their mind. The answer being in the negative, the cage of the elephant was ordered to be brought into the arena and placed facing the prisioners; the door was opened and the furious animals let loose.

As soon as the door was opened the infuriated brute made one dash towards the unfortunate Christians, who were a few paces to the rear of Fre Joao da Cruz, and it appeared as if the animal was about to sweep everything that lay before it. But directly it was a few yards from the holy priest, all its fury seemed to have vanished, and the elephant became as mild as a lamb. Then approaching him most reverently bowed before him three times, and lifting the priest most carefully with its trunk placed him on its back and carried him to the Emperor's throne.

The sensation, which this extraordinary behaviour on the part of an irrational animal must have caused amongst the immense fanatical crowd assembled there, can be better imagined than described.

10

With one voice they damanded of the Emperor the
immediate revocation of his monstrous decree, saying
at the same time that these Christians were really
the chosen people of—"Allah"—and to harm them
would be bringing down destruction upon their
country.

The Emperor, who was himself terror-stricken,
lost no time in immediately revoking his decree, and
granting full and unconditional pardon to all the
Christians. As soon as he had done this the eleph-
ant, replacing Fre Joao da Cruz on the ground, bow-
ed before him as it had done before, and then going
back, entered its cage and remained there quite still.

The Emperor then came down from his throne
and commanded the holy man to ask whatever he
wanted. He replied that the Portuguese had no
intention of robbing him of his lands or riches, and
all he desired was permission to return unmolested
with all his countrymen to the Convent of Bandel,
and also full liberty to preach the Christian faith
throughout his kingdom.

The Emperor at once granted these reason-
able demands, and provided him liberally with funds
to enable him and his countrymen to return to
Bandel. He also gave him, as and absolute and per-
manent gift by the " Firman, " 777 biggahs of land

11

in the village of Bandel surrounding the Convent
with power to administer Justice within the place.

Fre Joao da Cruz thanked the Emperor for his
magnanimity, and collecting all the Christians to-
gether returned thanks to the Divine Redeemer for
their miraculous deliverance. He then returned and
settled in Bandel.

In olden times the Prior of the Convent was like
a petty governor, collecting rents, administering
justice and had even a small police force of his
own.

The centre of attraction at the present moment
in this once famous place is the Statue of Our
BLESSED LADY OF HAPPY VOYAGE.

Truly she has been a perfect haven of rest to
one and all without distinction of creed, who have
trusted and confided in her immense power before
the throne of our heavenly Father. Thousands,
both rich and poor, from far and near, have visited,
and continue to visit, this holy shrine, bearing with
them costly and precious offerings in fulfilment of
some vow, and in gratitude for some particular
graces or favours obtained through her intercession.
This devotion, moreover, is not confined to Catholics
only, but numbers of our separated brethren and

12

pagans as well, will be found amongst those who go there with their offerings.

This very same statue was, it is admitted, located on the altar of the Military Chapel in the Portuguese Factory at Hooghly, which was destroyed by the soldiers of Shah Jehan during the capture of Hooghly from the Portuguese,

The holy priest Fre da Cruz had a great devotion to our Lady of Happy Voyage and was wont to spend many hours in prayer at the foot of this particular altar. Another pious Portuguese merchant, an intimate friend of Fre da Cruz and a fervent Catholic, it is said, had also a lively faith in her maternal power and invoked her aid in all his undertakings. During the confusion which followed the assault on the Portuguese fort this pious man fearing that the statue, so dear to him, would not escape the polluted hands of the soldiery of Shah Jehan, watched for a favourable opportunity, and taking it from the altar jumped into the river with the intention of swimming across with it; but was seen no more. This impressed the holy priest Fre da Cruz who was amongst the war prisoners, and who had witnessed this daring act of his intimate friend, and he never ceased praying for the safety of his intimate friend and the holy statue.

13

The old monastery at Bandel, situated about a mile from the Portuguese Factory, also suffered, though not so severely from these Islam fanatics. It is to this monastery that the handful of Christians, who were taken prisoners and miraculously released as it has been related already, had returned and settled.

Some time elapsed, and this brave little band, quite content with their lot, collected a little money, and headed by their zealous pastor, commenced to repair the damages that this house of God had received and to improve it in other ways. In this they were materially assisted by Christians from all parts of India and Ceylon, and in a comparatively short time were able to complete their arduous task.

Just when nearing completion, however, one beautiful night the water of that portion of the river directly opposite the church was greatly disturbed. The great river gradually commenced to roar as if a fearful storm was approaching, so much so that the holy priest was roused from his slumbers. Suddenly a voice, as if that of his intimate friend who had jumped into the river with the statue during the assault on the factory, was heard, which spoke in these terms:—

14

Salve! Salve! Salve! a nossa senhora the Boa Viagem que deu nos esta victoria. Levante, levante, o padre e orai por todos nos.

"Hail! Hail! Hail! our Lady of Happy Voyage who has given us this victory. Arise! Arise! Oh Father! and pray for us all."

The holy priest was unable to sleep, but went at once to the window to see if he could fathom what all this meant. But directly he had opened one of the venetians, he perceived that a portion of the river was beautifully illuminated, and it appeared as if some one was approaching towards the church. In another moment the beautiful light disappeared, all the noise ceased and everything was quite still again. The holy man, however, made no further endeavours in this direction, but persuading himself that it was only his imagination that had deceived him, sought his couch, and was soon fast asleep.

Early the next morning half-a-dozen pagans were seen near the church compound shouting that (uru Má (Bengali appellation of the Blessed Virgin Mary) had come to reign in the temple. The servants of the church, noticing this, ran at once and roused their master. The holy man, after hearing what the servants had to say, saw at a

AUGUSTINIAN CONVENT OF BANDEL, HOOGHLY. 15

glance that his experience of the previous night was no dream but a reality, and at the same time remembered the voice of his faithful friend that had addressed him. He dressed as quickly as he could and ran out to verify the truth for himself.

To his great surprise, a few yards from the gate he beheld the image of his beloved and heavenly mother, at whose feet he had poured out so often the longings of his pious soul.

He prostrated himself before the statue, made a short act of thanksgiving and carried the image with great devotion and placed it on the principal altar.

A special feast was kept up with great pomp in honour of this miraculous event, and on the feast day the image was carried in procession and placed in the small cavity on the tower facing the river.

Some years afterwards, however, it was again removed to the place which it now occupies, facing the north, in the direction of the Hooghly Ghat station.

A ghat was also built on the site where the statue was found in commemoration of this great

16

event, which can still be seen, the contributions for which came, not only from the Christians, but also from pagans.

On the feast day our heavenly mother had another wonder in store for her devoted children. This relates to the great Portuguese mast which is fixed before the main door of this historical church.

In those days of Portuguese power in India, Bengal was visited by a large number of Portuguese vessels, which constituted the vehicle of extensive commercial operations between Europe and the East. Several Portuguese firms, doing a very large business, were established in Bengal; and even up to a comparatively late period, the firm of D'Souza & Co., had an office in Mission Row, Calcutta. Alas! the firm no longer exists, and its last representative, so well known in Calcutta for his munificent gifts in the cause of charity, lately died in England. Another princely firm was that of Barretto & Co., and charitable endowments founded by Signor F. Barretto are yet being administered by the Administrator-General of Bengal.

The history connected with the mast standing on the grounds of the Bandel Church is strange, but nevertheless authentic. While the religious

AUGUSTINIAN CONVENT OF BANDEL, HOOGHLY. 17

ceremonies in connection with the remarkable discovery of the image were about to begin, a large Portuguese ship suddenly appeared at the Ghat, facing the south entrance of the church. No previous intimation had been received of this ship; and the officers and crew were not a little surprised to find that they had been brought to the very gates of a church. They availed themselves of the opportunity thus afforded to them of taking part in the celebrations. The service being over, the Captain had an interview with the Rev. Fre da Cruz, in the course of which he related how his vessel had encountered a terrific storm in the Bay of Bengal, how the safety of the vessel had been endangered,—huge waves, rising mountain-high, threatened every moment to engulf the vessel. The Captain, religious man,—devoted to the Blessed Virgin, then made a vow promising suitable offering, if they reached some harbour in safety. His prayer was evidently heard, for the storm soon began to abate, and after a short time perfect calm succeeded. Favourable wind and tide had brought then to the Bandel Ghat.

The Captain had one mast of his vessel removed and presented it to the Church as a votive offering. Indeed he had it fixed in the ground where it has remained ever since. The mast has defied the elements for about three-hundred years; and an

18

examination of the wood shows no signs of decay—indeed it bids fair to last many years more. Unfortunately, the name of the ship has not been preserved.

The Bandel Church is yearly visited by a large number of persons. Many vows have been fulfilled during the course of three centuries; and the efficacy of prayers addressed to the Blessed Virgin receives confirmation from the votive offerings, which have been, and are yet presented to the Church. The old edifice is a living monument of the Catholic Faith in Bengal. Four solemnities are specially observed in the Church, namely, the Feast of the Blessed Lady of Happy Vayage in the month of May; the Feast of the Blessed Lady of Rosary in November, and the Feast of Domingo da Cruz in February or March—the first Sunday in Lent—a solemn procession in the grounds of the Bandel Convent being attended by a large number of Catholics. The procession represents the journey of Our Lord to Calvary with the cross on his shoulder.

~~~~~

EDEN CINEMA

Sabado 10 e Domingo, 11 de Agosto de 1929

Dias sessões—1.ª ás 19 e 2.ª ás 22

UM ADMIRAVEL FILME MITOLOGICO

KARNA

O VERDADEIRO COMBATENTE

—0—

Uma rica produção da MAHARRASTRA FILM Cº

SINOPSE

Karna é sem duvida um dos personagens inconfundíveis do *Mahabharata*, a figura mais típica e mais fascinante da História da Grande Guerra, quer pela sua coragem inabalavel pela sua lealdade inexecuível e a sua proverbial caridade.

O seu nascimento fora um ministério. Kunti, a mãe dos Pandavas, recebêra do Rixi Durvassa um mantra que tinha o poder estranho de tornar mãe qualquer mulher. Querendo, levianamente, provar a eficácia do mantra, Kunti virá-se de repente mãe de um filho, sendo ainda virgem, e para se livrar do comprometimento confiára o filho à corrente do Ganges. A criança enjeitada fora recolhida pela mulher dum cocheiro e crescera em idade e em vigor no modesto lar de Radhá, sua mãe adoptiva.

A medida que foi crescendo, as suas extraordinárias faculdades tornam no admirado de todos e faz-se arigo dos principes Kauravas, seus companheiros de estudos, que, mais tarde, cedem-lhe o trono do pequeno reino da Anga. Quando completa a suo educação de principe, a sua força e pericia, como homem de armas, é tal que não tem quem rivalize consigo a não ser Arjuna, o terceiro Pandava e o personagem mais notável da Mahabharata.

Quando rebenta a Grande Guerra, Krishna insta com Karna para combater ao lado dos Pandavas. Mas Karna jurára fidelidade aos Kauravas e por cousa neuhuma quer vio-lar o juramento, nem mesmo quando lhe revelam o misterio do seu nascimento.

Indra, o rei dos Deuses, apareceu-lhe um dia, disfarçado, a pedir-lhe o seu Kavacha e Kundala, os únicos dois atributos que o tornavam invencivel. E o dadivoso Karna não hesitou em lhos ceder, sacrificando, assim, a sua invencibilidade.

Mas o grande guerreiro bandeara-se para o lado dos Kanravas e todos os seus me-
reamentos de nada lhe valeram porque os poz ao serviço duma causa injusta.

Eis o ensinamento que nos deixou a vida de Karna.

Preço dos bilhetes

Galera (Cadeira) ....0-10-0

Reservada........1-0-0

1.ª classe............0-10-0

2.ª classe............0-06-0

Tip.—R. M. Rau & Irmão—Nova Goa

PRINTED BY
HIGGINBOTHAMS LD., MADRAS AND BANGALORE.

# INTRODUCTION.

TO unaccustomed eyes there is possibly no style of architecture more hopelessly bewildering than that characteristic of the great Hindu temples of South India. The mind loses itself amid the maze of pillars, while the innumerable figures of deities, heroes and monsters, of birds, animals and reptiles still further heighten the sense of confusion.

The stranger feels that there must be some explanation of the curiously elaborate and puzzling mass. In a dim way he realises that the wealth of carving is not there for purposes of show alone. He knows that it must have been designed with a view to use as well as ornament. Unless, however, he is conversant with Hinduism and its innumerable legends, its theosophy and philosophy, its mystical and its practical sides, he is unable to understand anything clearly.

As a matter of fact the carvings and paintings, the mantapams and shrines of a Hindu temple are every whit as significant as the carvings, paintings, stained glass windows and side chapels of a Christian Church. Just, however, as a traveller from the East, unversed in Christianity, would fail to grasp the full meaning of what he saw in St. Peter's, Rome, or Westminster Abbey, the visitor from the West is baffled by the immense and involved religious edifices erected by Dravidian architects. This being the case I hope that the following brief description of the great Minakshi Temple at Madura, will prove of help to those who break their journey at the ancient city, in order to see its famous sights.

H. A. NEWELL,

Major, Indian Army.

FIRST DAY.

VISIT THE Minakshi Temple, THEN DRIVE OUT TO Tirumala's Teppakulam.

MINAKSHI TEMPLE.

APPROPRIATELY enough the great temple stands in the very heart of the city. Not only is it the centre of religious activity, a shrine which attracts thousands of worshippers from far and near, it is also a place of considerable commercial importance. Hundreds of booths crowd within its walls. They line its adjacent mantapams, and their brightly coloured wares enliven the otherwise rather sombre halls, and many-pillared galleries. The rent paid by the stall-holders augments the temple revenues to a very appreciable extent.

Strange to relate the fact that so much of the building is used as a bazar in nowise detracts from its sanctity, nor does it in the least affect the very high degree of veneration in which the shrine is held throughout the country.

GENERAL PLAN.

THE plan of the big Madura temple is rather more involved than that usually characteristic of Dravidian buildings of the type. Four high outer walls enclose a nearly rectangular space some 830 feet by 730 feet. This contains a labyrinth of cloisters, mantapams, store houses, shrines and tanks, while the

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carved and plaster figures are said to number over thirty-three millions. By devious paths five huge elephants—the gift of the Maharaja of Travancore—wend their way about in stately fashion, pausing to pick up the smallest coin thrown for the benefit of their drivers.

In the centre of all, jealously guarded by more walls pierced by tower-crowned gateways, are the inner shrines of the god and goddess. Siva is represented in his form of Sokkanatha, or Sundaresvara, the beautiful, and his wife appears as Minakshi, the fish-eyed.

## THE FISH-EYED GODDESS.

ALTHOUGH nominally dedicated to Siva, the vast Madura temple is, in reality, devoted to the goddess. Her cult is the special feature of worship. She is represented as having the eyes of a fish, hence her name of Minakshi or the Fish-Eyed. In this connection a curious old fallacy is quoted to the effect that a mother fish has but to fix her gaze upon her spawn for life to develop. In the same way devotees of Minakshi claim that when Siva turns his glance upon adorers of the goddess spiritual life immediately quickens within them.

## POPULAR TRADITION.

ACCORDING to popular tradition Minakshi was the daughter of a Pandya king. To the consternation of her parents she was born with three breasts. They were, however, consoled by a

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prophecy that the third would disappear directly she saw her future husband, a prediction which was fulfilled when she met Siva.

Sceptics advance the theory that Minakshi was a local Dravidian goddess, whom the Brahmans found to be so dear to the hearts of the people that they foresaw the impossibility of ousting her in favour of any of their Aryan deities. With their usual adaptability they overruled this obstacle by wedding her to Siva, thus uniting the old faith and the new in the strongest possible bonds.

## COPURAMS.

HESE lofty towers, crowning the entrances to the temple, are the first things to catch the eye as the train approaches Madura. They are unusually tall, and serve as landmarks for a considerable distance. The highest is on the south side. In all alike the lower storey is of stone, and the upper of brick entirely concealed by plaster figures representing the best known deities and characters of Hindu legend.

Formerly the north door was called the Mottai Gopuram, or Bald Tower, by reason of its lack of ornament. It continued in this state for many years owing to the popular belief that it is extremely unlucky to complete any building begun by another person. At last a courageous Chetty braved the superstition and added the necessary plaster top. Just inside this Gopuram, to

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the left, are five extraordinary columns, each composed of twenty-two slender pillars carved out of a single block of granite. They emit a metallic sound when tapped, and are said to have served as elephant posts.

### ASHTA SAKTI MANTAPAM.

ALTHOUGH the west gateway is the nearest to the railway station, the temple is best entered from the east side, through the Ashta Sakti Mantapam, or Porch of the Eight Saktis. Banished to earth for arrogance, these goddesses there obtained the office of protecting mankind from demons. The building named after them juts out from the wall, and eight highly-coloured female figures adorn its pillars. At the further end are shrines to Ganesh and Subramannia.

### GANESH.

IVA'S elder son is popularly known by three names, Gannapatti in the South, Vigneswara in Sanskrit, and Ganesh. He is represented as having the body of a short, stout man, and the head of an elephant. All worship must begin with a prayer to him. He is regarded as the god of wisdom, the bestower of gifts, spiritual and temporal, and the dispenser of occult power.

Alone among the gods he is represented as not married. This is accounted for by a legend. It states that upon his parents requiring him to choose a wife, he replied that he would do so when he found one capable

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of being compared with his mother. At this the goddess told him to go and search, hence his presence at the entrance to all temples and shrines. The people say "Gannapatti is looking for a wife."

### SUBRAMANNIA.

HIS deva is the second son of Siva. He is depicted as having six heads symbolical of the six chakras or centres of the human body as understood in Hindu psychology. Known as the god of war, he possesses two wives, and is prayed to by those who are desirous of subduing matter.

### DOOR OF A THOUSAND LAMPS.

HE next mantapam is that erected by Minakshi Nayakkam, a Prime Minister of the Naidu caste, Vishnu sect. Supporting the roof are six rows of tall pillars, each hewn out of a single stone. It is used as a bazar, the shops and stalls with which it is packed enriching the temple by some Rs. 17,000 annually. The further end is adorned by a handsome door cast in bell metal, conspicuous for its thousand lamps. It was presented by a Zamindar of Sivaganga in 1622. The same donor bequeathed certain villages to the temple, in order that the income derived therefrom should be employed in lighting the thousand lamps nightly. Guarding the approach to the door are elephant figures, and the usual darwara palakas, or gate-keepers.

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## MUDALI MANTAPAM.

BEYOND is the Mudali Mantapam remarkable for ten finely-carved figures. The most important represent Brahma, Siva and Vishnu in their begging forms. In this shape their emulators are legion in the Temple to-day.

## THE GOLDEN LILY TANK.

THE Mudali Mantapam leads out to the Pottamarai Kulam, or Golden Lily Tank, anent the efficacy of whose wonderful waters the most marvellous tales are told. Around it runs a many pilared colonnade, the walls enlivened by brilliantly coloured paintings depicting the sixty-four miracles worked by Siva in and about Madura. From the south side a good view is obtained of the vast roof of the temple. Above the flat expanse rises the bell tower, also the gilded gopurams which mark the shrines of the god and goddess, and the tall gilt flagstaff from which the white flag of Siva flies on all festive occasions.

## QUEEN MANGAMMAL'S CHAPEL.

O west of the tank is the small chapel built by Queen Mangammal. As Regent for her grandson this princess reigned over Madura for fifteen years, A. D. 1689—1704. She was an admirable ruler, her charity and good works being remembered and quoted to this day. When her grandson came of age she refused to make way for him. In this she was

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supported by her principal minister, a man towards whom she was accused of having shown an undue amount of favour. The opposition proving too strong she was seized and thrown into prison. The place in which she was confined is still known as Mangammal's Palace. There she was slowly starved to death. Her tormentors increased her suffering by placing food within sight and smell, but just beyond reach.

In the shrine by the Golden Lily Tank is the statue of a young man said to have been her favoured minister. On the ceiling the portrait of the same man is placed opposite a painting of Queen Mangammal. In the picture the royal lady is not dressed in the severely simple style characteristic of a Hindu widow, but appears in the gay apparel and many jewels of a married woman.

## SACRED PARROT MANTAPAM.

CLOSER BY is the Sacred Parrot Hall, its every pillar faced with elaborately carved figures. It takes its name from the many screeching parrots, the gifts of devotees, which occupy cages suspended from the ceiling.

Near the middle of the hall is a black marble pavilion. This is the scene of a pretty ceremony that takes place in September during the feast of Kolatam. Brightly dressed Brahman girls, decked out in flowers and jewels, assemble before the figures of Minakshi, Siva and Kali, beating two sticks and singing.

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## MINAKSHI'S TEMPLE.

ORTH of the black marble pavilion a small bull marks the entrance to Minakshi's shrine.

Through the open portals a glimpse is caught of a tall gilt flagstaff. The inner darkness is framed by a golden archway. Beyond two faint lights twinkle, star-like, before the place where the goddess dwells shrouded in eternal night.

## GANNAPATTI.

O right of Minakshi's temple is a shrine to her elder son. Gannapatti is represented in a very rare form, i.e., with female figure on his

lap,—indicative of power—and the chalice of immortality grasped in the curled-up end of his trunk.

## THE CROWS' ALTAR.

HE adjacent pillars are adorned with huge figures of the five Pandava Princes, the heroes of the Mahabharata. Opposite these, in

the immediate neighbourhood of the tank, is a curious altar. In shape rather like the base of a pillar it serves as a dining-table for the crows, who are daily fed with rice from a bowl placed thereon.

## SUBRAMANNIA'S SHRINE.

O the left of Minakshi's temple is a shrine to her younger son. This is guarded by two figures—Hanuman, the monkey god, and the

Queen of Oudh.

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## NADUKATTU.

DOORWAY under the Nadukattu, or Middle Gopuram, leads from the north end of the

Parrot Hall to the inner enclosure about Siva's shrine. Exactly facing the doorway, which has a particularly dangerous double step, is a blackened chapel surmounted by a big gilt crown. This contains the miraculous figure of Gannapatti, dug up in the great tank known as Tirumulás Teppakulam. As the visitor pauses before this interesting relic sons of priests step forward, and hang garlands of tubar roses about his neck. Those present clap their hands and cry, "Long life and happiness!"

## MAHA PATHAKA THIRTHAM.

ANY pillars support the roof of the wide corridor that runs round Siva's Temple. On the north side, close up against the inner wall, is the

Maha Pathaka Thirtham, a small, insignificant looking tank approached by steps. Its water is regarded as one of the holiest and most potent of the numerous marvels connected with the sanctuary. Those who bathe therein are considered to be washed clean of the blackest sin, the most heinous offence. Above it is a brilliant coloured picture, while almost opposite are the ruins of a Vishnu temple.

## THE SHRINE OF SIVA.

HIS faces east. Flanking the entrance are gigantic figures of Jaya and Vijaya, the temple gate-keepers. In vain the eye strives to

pierce the gloom that lies beyond the forbidden portal.

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The chill-vault-like atmosphere is faintly redolent of sandal, and the scent of heavily perfumed flowers. Far within is a glimmer of something white—the altar cloth on which the emblem stands. That is all. The twinkling lights that burn fitfully before the god only serve to enhance the darkness.

## RELICS.

A CHERISHED relic is the stump of a tree said to be all that remains of the fabulous forest of Kadambas, reputed to have once covered the entire country. The temple also contains statues of the Aruvattimuvar, or sixty-three Saivite saints.

## JEWELS.

T HESE are very fine and include a sapphire said to be of immense value. Other interesting jewels consist of an antique pendant, the gift of a Pandya king, a head dress of pearls and rubies presented by Tirumula, and a pair of golden stirrups donated by Peter Rous, Collector of the District, from 1812 to 1828. Mr. Rous did much to free the neighbourhood from the elephants which then infested it. His gift to the Madura temple is said to have been a thankoffering to commemorate his escape from a furious elephant which he had wounded.

## DWAJASTHAMBA.

A CING the entrance to Siva's shrine is a pavilion occupied by a figure of Nandi, the sacred bull. Above it rises a high roof gaily

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decorated with plaster work representations of gods and goddesses. Before and behind stand what appear to be gigantic golden candlesticks. These are the flagstaffs, known as dwajasthamba, which constitute a peculiar feature of all temples where the god is taken out in procession.

## THE NINE PLANETS.

S OUTH of Nandi's pavilion is a curious shrine, its roof supported by four blackened pillars. This is dedicated to the nine planets as understood in Hindu astrology. About it worshippers constantly circle in single file, pausing to revolve several times on the same spot whenever they pass the entrance. Opposite, between two columns, is a brazier in which cotton seed, soaked in oil, is burnt on Saturdays by those desirous of propitiating the planets of good and evil fortune.

## THE KING OF MANTAPAMS.

N EAR the north-east corner of the corridor stands the Mantapanayakka, or King of Mantapams. Despite its high sounding title it cannot compare with the Kambattadi Mantapam which surrounds the gilt flagstaffs facing Siva's shrine.

Built by the Nattukottai Chettis in the last century, this splendid hall is remarkable for its magnificently carved monolithic pillars. Behind the flagstaff are four unusually fine dancing figures, notably those of Siva,

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Virabhadi and Kali. The form of the last deity is almost invariably smeared with butter, turmeric and red powder, offerings made for the recovery of sick persons. East of these statues is the Viravasantaráya Mantapam ascribed to King Muttu Viruppa, 1609—1623.

## TEMPLE TREASURES.

N the south-east corner of the corridor stone elephants guard the approach to a painted shrine, in which is a dancing figure of Siva. Hard by is a row of strong rooms. These are filled with numerous large and quaintly fashioned figures of animals, and birds modelled in wood, encased in thick plates of gold and silver, free from all alloy. The value they represent, in precious metal alone, must be considerable.

One of the finest examples is a big silver throne, pyramid shaped, and surmounted by the sacred tree in the form of a cobra, elaborately intertwined with serpents, birds, leaves and other wonders. Two hundred men are required to drag a huge golden horse with a moving tongue. An immense silver parrot, with a golden beak, was presented by a local Chetty at a cost of ten thousand rupees. Interesting, too, is an ancient golden palanquin given by the last Maharaja to reign over Madura. A second, offered by the Zamindar of Sivaganga more than two centuries ago, is always used at the great marriage festival in April.

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## SANGATTAR TEMPLE.

N the north-west corner of the enclosure is a small chapel to the Sangattar, or Members of the third Sangam. From earliest times Madura was famous as a seat of learning. At various epochs it was the home of three different Sangams, a body of men who, apparently, exercised similar functions to those of the existing Acédémie Francaise. This ancient literary society sat in judgment on all poetical productions which had to receive the hall-mark of their approval.

## THIRD SANGAM.

T HE local purana gives the following fabulous account of the third or last Sangam, to whom the little shrine is dedicated:—

Sarasvati, the goddess of learning, incurred Brahma's displeasure, and was condemned to forty-eight successive births on earth. Appalled at so severe a sentence the goddess prevailed upon Brahma to allow her to serve all her time at once. Accordingly she split herself up into forty-eight parts, each of which entered a mortal shape. The result was forty-eight poets of transcendant merit. Their genius attracted the attention of the Pandya king, who formed them into the third Sangam. Annoyed by the presumption of inferior authors, who claimed equality with them, the divinely-inspired appealed to Siva. This sympathetic deity responded by giving them a diamond bench, which contracted or expanded according to the number of the Sangam present. Thus

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none but those legitimately entitled to do so could take
his seat among the immortal forty-eight.

TIRUJNANA SAMBANDHAR'S SHRINE.

HIS is the shrine of the poet saint, whose story
is one of the most popular of the many con-
nected with Madura. According to tradition
Nedumarar (A.D. 140—150), the hunchback Pandyan
King, was a Jain and persecuted his Saivite subjects.
The Queen, however, remained secretly faithful to Siva,
and induced the sacred poet Tirujnana Sambandhar to
visit Madura. About this time the King was taken very
ill with fever. When none of the Jain priests could cure
him the Queen prevailed on him to send for the poet.
He did so with the result that the saint not only banished
the fever but straightened his hunchback. At this the
King changed his name to Sundara Pandya, or the
Beautiful Pandya, and his religion to that of Siva.

THE MIRACLE.

 FOLLOWING his conversion the King condemn-
ed all Jains to death. They, however, persuad-
ed him to first witness a test of strength be-
tween them and the saint. Accordingly a large fire was
kindled. Texts of the two creeds were written on palm
leaves and relegated to the flames, which immediately
devoured the efforts of the Jains, while doing no damage to
those of the poet. Next more prayers were inscribed on
palm leaves and thrown into the Vaigai. Those of the
Jains immediately sank, while those of the Saivites floated

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up stream, against the current, finally coming to land in
a grove of bilva trees near Siva's emblem.

On the evidence of this fresh miracle the King ordered
all Jains to be forthwith impaled. He then proceeded to
build a temple, on the spot where the sacred writings
were found, on the river bank. This place is now known
as Tiruvedagam, a village 12 miles north-west of
Madura on the left side of the Vaigai.

MARRIAGE MANTAPAM.

OUTSIDE the corridor enclosing Siva's shrine, and south of the Viravasantaraja Mantapam is the Kalyana, or Marriage Mantapam. There the great wedding feast of the god and goddess is celebrated at the famous Chittrai festival, which begins in April and extends into May. The older portion of the hall is occupied by a raised platform. The wall, at either side, displays a huge painted discus representing a solar and lunar eclipse. Among Hindus it is considered of the last importance that the planets should be auspicious on the occasion of a wedding.

The new part of the building was constructed by a
rich Chetty less than two decades ago.

HALL OF A THOUSAND PILLARS.

NORTH-EAST lies the Ayirakkal, or Hall of a
Thousand Pillars, built about the middle of
the 16th century by Arya Natha, Prime
Minister to Visvanatha. Eight steps, painted in stripes

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of red and white, lead up to the Mantapam. They are
flanked by two large elephants below, and above by two
smaller ones. To right of the entrance is the mounted
figure of the donor of the hall. Other carvings decorate
some of the interior pillars which actually number 985.
The floor of the major portion of the Mantapam is in a
very bad condition and obstructed by rubbish. Up the
centre runs a paved walk which leads to a small shrine
dedicated to Nata Raja, or Siva in his dancing form.

PUDU MANTAPAM.

THE east gopuram leads outside to the Pudu Mantapam, otherwise known as Tirumala Nayakkan's Choultry. Commenced in 1623 this beautiful hall took twenty-two years to build. Designed as a summer retreat for the god, it was originally surrounded by a narrow watercourse intended to keep the air cool. The flat roof is composed of lengthy granite slabs supported by 124 sculptured columns. All the pillars are different. The carvings represent rearing yalis, warriors on horseback trampling men and animals under foot, and numerous other monumental examples of skill and patient labour. The central aisle is lined by coloured statues. One group portrays Tirumala with his wives and children. His predecessors are similarly represented with their consorts and off-spring. The hall consists of a rectangular pavilion measuring 333 feet by 105 feet.

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RAJA COPURAM.

TILL further east is the great unfinished gate-
way commenced by Tirumala. The doorposts
are cut out of single blocks of granite three
feet wide and fifty feet high. Had it been completed the
Raja Gopuram, or King's Tower would have been the
finest in South India.

MUSIC PAVILION.

HIS faces the Ashta Sakti Mantapam, and is
now used as a fruit market. It is chiefly
remarkable for the brightly coloured plaster
figures surmounting the façade.

THE TWELFTH PLACE OF PEACE.

MONG highly educated Brahmans the great
Minakshi temple is regarded as peculiarly
sacred. They refer to it as Dwadasantham,
or the Twelfth Place of Peace. According to their
teaching the human body contain six chakras, or centres
of activity. A Hindu sanctuary may be designed with a
view to symbolising one or all of these sources of energy.
Their doctrine also claims that in addition to the usual
six lower chakras there are six others, springing from
between the eyebrows. The highest is entitled Dwada-
santha, or Twelfth Place of Peace. It is this last and
most spiritual part of the human form divine, which the
Madura temple represents; hence its appeal to the elect
among Brahmans as a veritable holy of holies.

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ANTIQUITY.

The very early portions, erected by the old
Pandya kings, were almost entirely destroyed
by the Muhammadans, under Maluk Kafur, general to
the Delhi Emperor, Ala-ud-Din. The invaders demolished
the high outer walls, with their fourteen gopurams,
only sparing the inner shrines of the god and Minakshi,
and the buildings immediately surrounding them.

FAME.

THE temple owes much of its renown to the fact
that it was sung of by Manikya-Vachakar,
author of the famous sacred poem "Tiru-
vachakam." This bard flourished in the 5th century.
A Brahman by caste he rose to be prime minister to
the Pandya King. Despite his high position and court
influence his mind dwelt more upon spiritual than
temporal concerns, hence his downfall. Upon the
monarch entrusting him with a large sum of money,
wherewith to purchase horses for the cavalry, he departed
on the quest. He had not gone far when he was stopped
by Siva, disguised as a guru. The holy man demanded
alms and the Prime Minister gladly made over the royal
treasure to him.

News of so unprofitable a transaction speedily reached
the sovereign's ears, and he summoned his minister to the
capital. Siva told Manikya-Vachakam to obey the order
and assure the king that the horses would follow. True

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to his word the deity transformed a number of jackals
into magnificent chargers, and, placing himself at their
head, rode into Madura. The king was delighted, and
the prime-minister was restored to favour. Unfortu-
nately, that very same night, the jackals resumed their
original shapes, and, escaping from the royal stables, ran
howling through the streets back to their native jungle.

THE FLOOD.

UNRAGED at this unexpected turn of affairs
the monarch caused his minister to be thrown
into prison, whereupon Siva sent a mighty
flood to destroy the city. In order to save their capital
from the threatened catastrophe the entire population
concentrated upon the building of a dam. One old
woman being unable to complete her allotted task Siva
assumed the guise of a coolie and started to help her.
While he was thus engaged the king arrived upon the
scenes. Finding the work, at this particular spot, very
much behindhand he struck the supposed labourer.
Now Siva represents the universe, so that when he was
hit by the royal stick the whole world, the king of
Madura included felt the blow. At this fresh evidence
of superhuman power the king recognised the agency of
Siva and released his Prime Minister.

Upon recovering his liberty Manikya-Váchakar re-
nounced the world and all its works. He became an
ascetic and travelled about the country visiting various
shrines, which he proceeded to immortalise in his poems

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After a lapse of fifteen centuries his memory is still honoured in Madura at the great Avanimulam festival. This takes place in August-September. Various episodes connected with Siva are enacted, notably the transformation of the jackals into horses. During the course of the proceedings a jackal is actually brought into the temple and, after the necessary formalities have been observed, let loose to make its escape as best it may. All present then repair to a spot on the bank of the Vaigai, near the Municipal water works. There the building of the dam is commemorated. One Brahman impersonates Siva, and another the Pandya King, who ignorantly struck the deity, and thus dealt a blow at the entire world.

## OTHER POETS.

THE TEMPLE is also mentioned by Tamil poets of much earlier date than Manikya-Váchakar. They allude to it as Velliambalam, or Hall of Silver, and sing of its glories in no measured terms.

## THE BANYA TREE.

N the way out to Tirumala's Teppakulam a great banya tree is passed on the left side of the road. It shades an area 60 yards in diameter, and its trunk measures 70 feet round. Local authorities state it to be considerable over two hundred years old.

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## THE TEPPAKULAM.

HIS indescribably beautiful tank lies in the south-east corner of the town, and connects with the Vaigai by means of a channel. It was built by Tirumal (1623-1659) on the site whence he extracted the materials, and manufactured the bricks for his splendid palace. During the course of these operations the figure of Gannapatti—now in the great Minakshi temple—was unearthed. Tirumula interpreted the finding of the deva as meaning that the spot was holy ground, and so proceeded to construct the Teppakulam. Almost a perfect square the tank measures 1,000 feet north and south, and 950 feet east and west. The banks are faced with granite, and encircled by a paved walk 5 feet wide, surmounted by a handsome stone parapet. Each side possesses three separate flights of stone steps, which lead down to the water's edge.

Rising from the centre of the lake is a square island encased in hewn granite. Its many trees, and their riot of variegated foliage, almost give it the appearance of a huge bouquet afloat on the green water. The tangle of branches half screen, half reveal the sculptured whiteness of a fairy-like temple, the approach to whose steps is guarded by sentinel elephants. Above the head of the tallest palm a snowy dome, with golden spire, reaches up towards the blue arch of sky. At the four corners of the enchanted isle the sunlight plays upon the white and gold of slender minarets, their graceful outline mirrored in the smooth surface of the emerald lake.

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During the great Teppakulam festival in January, Siva and Minakshi are brought in solemn procession from their big temple in the city. Their splendid triumphal car is attended by priests, musicians, dancing girls and a vast concourse of worshippers. Arrived at the tank the gods embark in a gaily decorated raft, a hundred thousand lights having been illumined in their honour. They pass the night in the beautiful white temple on the green island, and return to Madura the following day.

The floating feast, as it is popularly called, was inaugurated by Tirumala on the completion of the tank. It is celebrated on the anniversary of his birthday.

## AFTERNOON.

See Tirumula's Palace, THEN DRIVE TO THE Tamakam, People's Park, AND Mosque.

## TIRUMULA'S PALACE.

TIRUMULA'S PALACE. HIS occupies the south-east corner of what used to be known as the Old Fort. Of the once superb palace only a single block remains. The work of destruction was begun by Chokkanatha, 1662-1682. A grandson of Tirumalla's he preferred Trichinopoly to Madura, and so commenced to transfer the royal residence to his new capital.

Nothing of the original edifice now exists but two oblong buildings. Their general colour is a deep rich yellow, and they are connected at one corner. The lar-

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ger is built round a great open courtyard 252 feet long and 151 feet wide, about which runs a noble and beautiful roofed arcade. This is supported by pillars 40 feet high, linked by foliated brick arches of the exquisitely fine stucco called chunam, or shell lime, a speciality of the Madras presidency. At the back of this arcade three sides of the quadrangle are devoted to wide cloisters 43 feet deep, upheld by triple rows of pillars. Traces of turquoise, red and orange paint still adorn the column heads, and the ceilings display a variety of designs remarkable for their charming colour schemes.

At the far end of the courtyard the cloister deepens into a hall having five rows of massive pillars, and three great domes. The largest of these last measures 60 feet in circumference, and attains a height of 73 feet from the ground. In front is a splendid portico, its pillars rising 55 feet.

A local M. S. S. speaks of this building by the name of Swarga Vilasam. It says, "This pavilion is so constructed as to cause it to be said that in no other country is there a court equal to it by reason of its splendid ornaments, their excellence, number and extent, curious workmanship and great beauty." To the west, in the midst of a vast domed hall, is a square building of black stone, inside which is a chamber made of ivory. In the middle of this is a jewelled throne on which the king takes his seat at the great nine nights' festival. He is surrounded by all his banners and ensigns of royalty, and before him all kings do homage.

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At the back of the domed chamber are three rooms chiefly remarkable for their black marble pillars.

## THEATRE HALL.

UCH is the name given to the smaller of the two palace buildings. It consists of a wonderful hall 135 feet long, half as wide and 70 feet high, roofed over by a pointed arch, strengthened with granite ribs that spring from a double series of arches, one above the other, supported by columns. At each of the four corners stands a finely executed warrior figure, with drawn sword, while up above is a spacious gallery.

Tradition asserts this to have been Tirumala's sleeping apartment. This bed hung from long chains attached to hooks in the ceiling. In this connection a tale is told of a Kallan who, one night, entered by means of an opening in the roof. Swarming down the chains he stole the crown jewels. Upon the king offering a reward for their recovery the thief boldly came forward and claimed it. Tirumula gave it, as promised, then promptly had him beheaded.

## THE TAMAKAM.

HIS curious looking building is on the other side of the Vaigai. It takes its name from the Telegu word meaning Summer House, i.e., a pavilion having a roof and pillars but no walls. The drawing room is the oldest part of the house, and exactly answers to this description, the walls which now enclose it being a later addition.

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Built on a four-sided mound faced with stone it displays a domed roof measuring 21½ feet across, the supporting arches springing from square pillars. The ceiling represents an inverted lotus blossom modelled in painted chunam, and is similar in design to much of the decoration characteristic of Tirumula's Palace. It is said to have been built as a grand-stand from which to witness wild beast fights and other displays.

The Tamakam is chiefly interesting as being the place from which the famous heart of the great Montrose was stolen for the sake of its silver casket. The precious relic had been entrusted to the safe keeping of Mr. Johnston, paymaster at Madura in the beginning of the last century. This official had received the Summer House, then in ruins, as a gift from the Nawab of Arcot. He restored it, and was living there with his family when the catastrophe occurred.

The Tamakam is now the residence of the Collector.

## PEOPLE'S PARK.

HIS lies due west of the Tamakam. It covers about 70 acres, and was formally opened by Lord Dufferin in December 1886.

## THE MOSQUE.

WEST of the main entrance of the People's Park, in the hamlet of Gorpalaiyam, is the most sacred mosque in Madura. It contains two tombs. One, it is claimed, is the last resting place

26

of a king named Alla-ud-Din, and the other that of his
brother, Shams-ud-Din. A pillar in the interior bears a
long Tamil inscription dated 1574. This describes the
sanctuary as the "Mosque of the Delhi Orukol Sultan,"
but just what is meant is not clear. The chief feature
of interest is the dome. This measures 22 feet from
base to apex, and 69 feet in diameter, and is cut out of a
single block of stone.

## SECOND DAY.

### DRIVE TO Tirupparankunram.

The village of Tirupparankunram lies four miles south-west of Madura, at the base of a hill rising 1,048 feet above sea level. To Hindu this is known as Subramannia's Hill from the famous old temple to that deity at its northern foot. Muhammadans, on the other hand, call it Sikandarmalia in honour of the eminent fakir Sikandir, who is buried at the top.

## SUBRAMANIA'S TEMPLE.

The approach to this is marked by several mantapams, gaily painted and many pillared. With its brightly coloured gopuram, set close up against the mountain, the temple to Siva's second son presents a distinctly curious appearance.

It is entered through a hall the forty-eight monolithic columns of which support a flat roof, composed of long

27

granite slabs. The shrine itself is cut out of solid rock, and beside it stands a figure of Tirumula, the sovereign credited with having built the outermost mantapam. To the east is a fine Tank, while a well, known as Sanyasi-kulam, is reputed to possess such marvellous curative qualities that its waters are taken to Madura and sold to sick persons.

The temple contains several interesting inscriptions. One tells how in 1772 a European regiment had taken Madura and was marching upon Subramannia's Hill. Seeing their ancient sanctuary threatened the priests prevailed upon a man to throw himself from the gopuram. He did so, upon which the soldiers withdrew having done no damage.

The temple is mentioned by Narkirar, one of the sacred poets who graced the famous Tamil Sangam; hence the inner shrine at least must date from the very earliest times. Its motive is to celebrate the marriage of Subramannia with Valliamai. Long before the advent of the Aryans this God was worshipped by Tamils under the name of Murugan. Temples exist to him in Ceylon, Tinnevelly and Madura.

## FAKIR'S TOMB.

FLIGHT of more or less irregular steps leads to the fakir's tomb. Just about half way up a number of Jain figures appear on the over-hanging face of an immense granite projection. Slightly

28

further along the same south side of the huge boulder is a diminutive shrine to Kasi Vignesvaralinga. At this point the fissure in the rock widens considerably to form a pool of very great depth. On the further side of the water are some deeply cut figures of Hindu deities, and Siva's emblem, to which the priest swims across with the daily offerings of food and flowers.

The fakir's tomb is at the top of the hill. He sleeps in a crevice between two boulders. Where his grave now is the holy man is said to have lived and died. The mosque, in front, is a recent construction. It is characterised by pillars, a dome and minarets.

## UMAIYANDAN KOVIL.

HIS is a rock-cut temple at the southern foot of the hill. It is 9 feet high, and measures 19 feet by 17 feet. Dedicated to Nataraja, or Siva in his dancing form, that deity and Kali—goddess of blood sacrifice—are depicted on the back wall in a defaced carving. East of this group Subramannia appears with his two wives.

To the west is a small shrine about 8 feet square. This contains Siva in the rare guise of Ardhanarisvara, in which he shows himself as half man and half woman. An inscription attributes the temple to King Maravarman Sundara Pandya I., A. D. 1216.

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## THE BAZAAR.

HIS busy mart offers two great attractions to visitors, namely its beautiful wood work, and its brass wares. Madura tables, profusely carved with elephants, are treasures eagerly sought after.

## VISHNU TEMPLE.

ITUATED in the town near the large tank. Strangers are rigorously excluded from even the dark outer court. In the shrine the god is represented in his three attitudes—sleeping, sitting, and standing.

The distinguishing mark of Vaishnaivites is a curiously shaped V. in the centre of the forehead, held to represent the footprint of the deity. The colour of the chalk employed varies according to the special section to which the follower of the Preserver belongs.

## ANAIMALAI.

IVE miles from Madura, along the Melur Road, rises the Anaimalai, or Elephant Hill, a bare rock, 2 miles long, ¼ of a mile wide, and 250 feet high. It owes its name to its supposed resemblance to an elephant. According to the Madura Sthalapurana there is no supposition about it, nor is the resemblance an accidental one. The ancient chronicle states that the mound actually is a petrified elephant.—The Jains of Conjeeveram tried to convert the Saivites of Madura. Finding the task difficult they had recourse to magic.

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They dug a pit ten miles long and proportionately deep, wherein they performed a mighty sacrifice. Their mystic rites evolved a gigantic elephant. As the monster advanced upon Madura the earth shook beneath its feet. The Pandya King applied to Siva for help, whereupon the god transfixed the monster with an arrow upon the very spot now occupied by its certified remains.

At the northern foot of the rock is a lotus covered tank, Hardby is a temple to Narasinga Perumal, the inner shrine of which is carved out of solid rock. Near the entrance the face of the hill is scarred with inscriptions. One of these is dated in the twenty-third year of the reign of the Chola king, Parantaka. A. D. 906.—946.

This monarch styled himself "The Conqueror of Madura."

To the south-west is a boulder carved with the figures of tirthankaras, or Jain saints.

The hill can be climbed from the west side. Half way up are sleeping places hewn out of the rock. These are called the "beds of the five Pandavas." Further on is the "Elephant's Eye," a small pool of water, and beyond again lies a cave once the abode, for a very considerable time, of a tiger.

### NACAMALAI.

A NOTHER spot famed in local legend is the Nagamalai, or Snake Hill, a long straight ridge of barren rock which commences about 3½ miles from Madura. The tale runs that it is the

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remains of a gigantic serpent conjured up by Jain magic, and slain by Siva as it was approaching to destroy the city of his fervent worshippers.

### PASUMALAI.

A HE Pasumalai, or Cow Hill is a mound of quartz two miles south of Madura. Tradition tells how the Jains, baffled in their efforts to overcome the Saivites by means of the snake, laid a deep and cunning plot. Knowing the cow to be sacred to all Hindus they conjured up a demon in the form of that animal, well aware that none would kill it. Of immense size the fiendish cow marched against the city. Siva, however, was more than their match in strategy. He caused his bull, Nandi, to vastly increase in bulk, and ordered it to go out to meet the enemy. Seeing the heavenly animal draw near, the cow became so deeply enamoured as to die of love. She was forthwith converted in the mound which now bears her name.

### HISTORY.

A HE district abounds in traces of a primitive people who buried their dead in kistvaens or dolmans. Beyond their stone graves, however, these early dwellers have left no record. Authentic history only begins with the Pandyan dynasty.

Like the Cholas and Cheras, with whom they disputed the dominion of the south for so many centuries, the Pandyas were non-Aryan invaders from Lower Bengal.

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who descended upon the country by way of the sea. Their emblem was a fish. In battle their warriors were distinguished by garlands of margosa, the Cholas wearing chaplets of ar, and the Cheras palmyra leaves.

That the Pandyan kingdom flourished several centuries prior to the Christian era is proved beyond doubt. It is referred to by Megasthenes, the Greek envoy to India, 302 B. C. Pliny, A. D. 77, names it, and Ptolemy, A. D. 140, speaks of "Madura, the Capital of Pandion."

## LITERARY CENTRE.

UDGING by the number of early Tamil poets and their records, ancient Madura was a great and brilliant literary centre. It was the home

of the Sangattar, or Sangam, a society corresponding to the Acédémie Francaise of to-day. The old time bards speak of the city as Namadak-kudal, or Cluster of Four Towers. It was also called Northern Madura to distinguish it from a former capital, of the same name, in the extreme south of the peninsula, which was swallowed up by the sea.

## JAIN FAITH.

RIOR to the second century A. D. the Jain faith seems to have prevailed. An old work, dealing with the lives of sixty-three devout

Saivites, gives the sacred poet Tirugnana Sambandhar credit for converting the country to Saivism. According to this chronicle the poet succeeded in curing the Pandya king Nedumaran (A. D. 140—150) of a serious

33

illness, and so prevailed upon him to abandon the religion of the Jains in favour of Siva worship.

## CHOLA INVASION.

N the 6th century the Pallavas, whose capital was at Kanchi, the modern Conjeeveram, extended their domains at the expense of the

Pandyas. Worse befel the ancient kingdom in the 10th century, when it was overrun by the Cholas. A hundred years later the Pandyas united with Ceylon and the Cheras in a desperate effort to throw off the yoke. The allies were defeated, and in an inscription the victorious Chola king tells how he routed "Sundara Pandya of great and undying fame, who lost, in the stress of battle, his royal white parasol, his fly whisks of white yak's hair, and his throne, and fled—leaving his crown behind him—with dishevelled locks and weary feet." In a later rebellion the Pandya leader was captured, and condemned "to be trampled to death by a furious elephant."

## MUHAMMADAN INVASION.

IKE the rest of South India Madura was raided in 1310, by Malik Kafur, general to the Delhi Emperor Ala-ud-Din. The invaders

sacked the capital, and almost entirely demolished the great temple. The famous outer wall, with its fourteen gopurams, was reduced to ruins,⁵⁶ as were many of the interior shrines.

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## INTERVENTION OF VIJAYANAGAR.

BOUT 1365 the Muhammadans were driven from Madura by Kampana Udaiyar, a prince belonging to the new Hindu dynasty of Vijayanagar. He set up a small power of his own. The Siva and Vishnu temples were reopened, and worship resumed with extraordinary fervour. In order to restore confidence the Brahmans arranged a miracle for the day on which the new ruler should attend the formal opening of the great pagoda. As the prince approached the innermost shrine the doors were unfastened, and, to the general amazement, lights were discovered burning before the god, while garlands of flowers, sandal wood and all the customary offerings were found exactly as they had been on the dread day, half a century before, when the temple was closed by the invaders.

## NAYAK DYNASTY.

N the latter half of the 16th century the Nayak Dynasty came into prominence. It was founded in 1559 by Visvanátha, whose prime-minister, Arya Natha, built the celebrated Hall of a Thousand Pillars. This ruler acquired Trichinopoly, receiving it from Tanjore in exchange for the fortress of Vallam, then in his possession.

The most famous of the line was Tirumala Nayak, 1623-1659, whose gross revenue is said to have exceeded a million sterling. He it was who built the palace,

the Teppakulam, the beautiful Pudu Mantapam and the Raya Gopuram. During his reign the wellk-nown jesuit, Robert de Nobili, started an important mission at Madura.

35

## QUEEN MANCAMMAL.

FTER Tirumala the kingdom began to break up. The king of Mysore invaded the capital and invested Trichinopoly. Among a succession of insignificant rulers one name stands out—that of Queen Mangammal. The roads she made, and the shrines and choultries she built keep her memory alive among the people to this day.

In 1704 her grandson was held to have come of age at 15. As she was only acting as regent Queen Mangammal was called upon to make way for him. This she refused to do. Accordingly she was seized, thrown into prison and slowly starved to death.

## QUEEN MINAKSHI.

AN even worse fate awaited the next woman to rule over Madura. Mangammal's grandson reigned from 1704-31. At his death the power passed into the hands of his widow. A pretended claimant caused civil war to break out and in the troubles that followed the unfortunate queen was first helped and then betrayed by Chandni Sahib, nephew to the Nawab of Arcot, who held the country in tribute for the Delhi Emperor.

36

Upon the assumption of power by her false Ally the queen—whom he had imprisoned in her palace—put an end to her life by taking poison. With her died the Nayak dynasty.

## BRITISH OCCUPATION.

N the struggle that followed between Chandni Sahib and Muhammad Ali—the rival Nawabs of Arcot—the French sided with the former, and the British with the latter, who was also assisted by the Raja of Tanjore. For sometime neither claimant scored any decisive victory. Finally Chandni Sahib was surrounded and forced to surrender. Before giving himself up to the general commanding the Tanjore forces he stipulated that his life should be spared. Solemn assurances to this effect were given, but he was none the less brutally murdered.

From this period on the country remained in a troubled and unsettled state, until taken over by the British early in the 19th century.

## SOME PRESS OPINIONS.

### MAJOR NEWELL'S GUIDE BOOKS.

“THE TRIBUNE,” LAHORE, SAYS :—

Major H. A. Newell of Jullundur Canton-ment deserves to be heartily congratulated on his happy idea of assisting tourists and travellers with hints and suggestions as to how to manage their sight-seeing in principal cities. This he has done by issuing a series of handy and well written guide books of which three have already been issued—those of Amritsar, Delhi and Agra; and we understand that others of the series are in preparation. It is not all tourists who know what to see and how to see, and even those who know these labour under a great disadvantage in that they know nothing of the topography of the place. Not unoften are visitors constrain-ed to waste time, energy and money over their itinerary. Instead of enjoying the sights they come to see they even find the tours uncomfortable and vexatious. Much of this is due to want of information as to places they propose to visit and want of knowledge as to method and arrangement in their programme. Major Newell's guides supply these wants and are a great help to tourists. Being models of clearness and brevity they are admirably adapted to the needs of tourists. The guides are elegantly printed on art paper by Messrs. Higginbothams Ltd. of Madras and are accom-panied with maps.

Major H. A. Newell's Pocket Guides.

Price Eight Annas only.

(1) "Three Days at Delhi," complete guide with Map.

(2) "Three Days at Agra" including Fatehpur-Sikri, complete guide with Map.

(3) Amritsar (The City of the Golden Temple).

(4) Trichinopoly (The Three Great Temples), Illustrated.

(5) Madura (The Hall of 1,000 Pillars), Illustrated.

(6) Rameswaram (The Sacred Island), Illustrated.

(7) Benares (The Hindus' Holy City), with Map.

(8) The Seven Pagodas (Mahabalipur), Chingleput and Conjeeveram, Illustrated.

(9) Tanjore (The City of the Mammoth Bull) Illustrated.

PUBLISHERS:

HIGGINBOTHAMS L.D.,

MADRAS

SOME PRESS OPINIONS.

Guide Books to India.

(1) The "Times of India" says:

"The tourist in India must undoubtedly often find the ordinary guide book a source of embarrassment rather than assistance and the absence of a properly planned itinerary often leads to vexatious delay and extra expense. A hearty welcome should therefore, await the admirably planned and well-written guides by Major H. A. Newell, Indian Army, now being published.

"Three days at Delhi" shows how all the chief objects of historical interest may be visited with a minimum of trouble and inconvenience, and the descriptive matter is informative and concise. Two maps are attached at the end of the book showing the new capital and the various routes of approach. "Three days at Agra" is on much the same lines, one day being devoted to Fatehpur-Sikri. Few tourists who visit Amritsar have any but a vague notion of what they are about to see and "Amritsar the City of Golden Temple" should be, perhaps, even more useful than its companion booklets. The centre of Sikh worship is described in an interesting fashion, due attention being also paid to the Carpet Factory, Ram Bagh Gardens and Fort Govindgarh.

All these guides are of uniform size which enables one to slip them easily into the pocket, and the price of each is As. 8. Several more of the series are in the press, and will be issued shortly, and those dealing with some of the sacred and historical places of Southern India should be particularly welcome."

(2) The "Hindu" says,:—"...................any traveller will be saved the vexatious waste of energy, time and money which inevitably follows his ignorance of the place and the uncertainty as to the sequence in which the various objects are to be visited......... the get up is very neat."

(3) The "Pioneer" says:—"......Major Newell's little hand books supply him (traveller) with a well ordered itinerary........ They are excellently printed.................."

(4) The "Madras Times" says:—"A welcome publication...... admirable little book."

(5) The "Madras Mail" says:—"These volumes..........seem likely to be of use to travellers."

(6) The "Civil and Military Gazette," Lahore, says:—"........ "Very useful guides."

## INTRODUCTION,

IN the clearness of its general plan, and the straightforwardness of its architectural design the great Siva Temple at Tanjore differs considerably from the involved and bewildering styles so often found to characterise Dravidian buildings of the kind. The Brihatisvara Temple,—as the vast Siva shrine is called,—stands out prominently from all others in South India by reason of the purity of its lines, and the harmony of its conception. There is no danger of the stranger losing his way amid a maze of pillars, or labyrinth of corridors. He has but to enter the large gateway to the east, and walk straight on until he reaches the spacious open quadrangle wherein stands the temple of the God himself. By the time that he has made the circuit of this he will have seen all that there is to be seen. He will have gazed in wonder at the splendid central shrine, with its innumerable carved figures, its inscriptions, its signs and its symbols. He will have peered into the many smaller edifices, and made the tour of the long cloisters with their picture painted walls. There will be nothing he will not have seen. How much, however, will he have understood? In the hope of enabling many people to answer this vexed question in a satisfactory manner I have penned the following lines.

H. A. NEWELL,
*Major, Indian Army.*

SOME PRESS OPINIONS.

The ‘Times of India’ says:

Guide Books to India.

"The tourist in India must undoubtedly often find the ordinary guide book a source of embarrassment rather than assistance, and the absence of a properly planned itinerary often leads to vexatious delay and extra expense. A hearty welcome should, therefore, await the admirably planned and well written guides by Major H. A. Newell, Indian Army, now being published.

"Three days at Delhi" shows how all the chief objects of historical interest may be visited with a minimum of trouble and inconvenience, and the descriptive matter is informative and concise. Two maps are attached at the end of the book showing the new capital and the various routes of approach. "Three days at Agra" is on much the same lines, one day being devoted to Fatehpur-Sikri. Few tourists who visit Amritsar have any but a vague notion of what they are about to see, and "Amritsar the City of Golden Temple" should be, perhaps, even more useful than its companion booklets. The centre of Sikh worship is described in an interesting fashion, due attention being also paid to the Carpet Factory, Ram Bagh Gardens and Fort Govindgarh.

All these guides are of uniform size which enables one to slip them easily into the pocket, and the price of each is 8 annas. Several more of the series are in the press, and will be issued shortly, and those dealing with some of the sacred and historical places of Southern India should be particularly welcome."

The "Hindu" says: — "................any traveller will be saved the vexatious waste of energy, time and money which inevitably follows his ignorance of the place and the uncertainty as to the sequence in which the various objects are to be visited........ the get-up is very neat."

The "Pioneer" says: — "..................Major Newell's little hand books supply him (traveller) with a well-ordered itinerary........ They are excellently printed.................."

The "Madras Times" says: — "A welcome publication........ Admirable little book."

The "Madras Mail" says: — "These volumes........ seem likely to be of use to travellers."

The "Civil and Military Gazette" says: "....................very useful Guides."

TANJORE.

ACCORDING to legend Tanjore derives its name from a giant, or rakshasan, who once made his home there. He was killed by Vishnu, and with his last dying breath requested that a city might be built which should be called after him. Less picturesque but more probable is the suggestion that Tanjore really means City of Refuge, in which case it takes its title from the word tanjam, signifying refuge.

Of extreme antiquity the town occupies a peculiarly flat site 218 miles south-west of Madras. Its chief interest, in the eyes of visitors from over seas, lies in its temples, its palace and its beautiful brass work. Of the many shrines, for which the place is famous, only four or five are dedicated to the worship of Vishnu.

The majority of the inhabitants are Hindus, of whom fully two-thirds are Saivites. How far the followers of the Creator and Destroyer outnumber those of the Preserver may be ascertained by a glance at the sect marks, which adherents of the two popular deities wear in order to distinguish themselves, and proclaim to the world their particular culte.

Those who honour Vishnu as "Lord of All" draw a curiously shaped V, in the centre of their foreheads,

2

with white chalk, divided by a vertical red stripe. Devotees of Siva trace three horizontal bars across their brows with sacred ashes, and place a small round dot immediately above the nose.

Tanjore is said to possess some fifty minor shrines. These are of little interest, more especially as admittance is strictly prohibited to any but Hindus. At times of festival three of the larger temples are attended by crowds of pilgrims. None, however, can compare in size, beauty or importance with the great Siva sanctuary, the grandly carved gopurams of which attract the eye from afar. Hundreds of visitors, from all parts of the globe, annually visit this splendid shrine. As it possesses several enclosures into which the stranger may penetrate, there is no danger of an angry warder immediately stepping forward shouting, and waving a bunch of keys. The words may be unintelligible, but there is no mistaking the menacing tone and gesture. The intruder is made to feel that he is on forbidden ground. Nothing remains but to beat a hasty and somewhat ignominious retreat.

This unpleasant experience is familiar to all who have sought to penetrate the mysteries which lie beyond the outer wall of any but really large temples. In those the sanctum sanctorum is equally jealously guarded, but the surrounding enclosures are several in number, and these are open to European visitors.

3

## THE GREAT SIVA TEMPLE.

> "I am the God of the sensuous fire
> That moulds all nature in forms divine:
> The symbols of death and of man's desire,
> The springs of change in the world are mine;
> The organs of birth and the circlet of bones;
> And the light loves carved on the temple stones."

SIR A. LYALL.

The great Siva Temple at Tanjore is not considered particularly sacred. This is all the more surprising as not a booth is to be found within its walls, and it is one of the finest, best ordered and most beautiful shrines in South India. The idiosyncrasy is accounted for by a legend to the effect that in the early days of its history Appar, the famous Saivite saint, was refused admittance. No reason is assigned for the strange refusal. The result, however, was disastrous in the extreme. The holy man retaliated with that most deadly weapon—silence. Neither in his hymns nor in any of those of the other sacred poets of the Siva sect is allusion made to the temple, hence it is not invested with that odour of sanctity which mention by the inspired religious writers of olden time alone can impart.

## THE FOUNDER.

THE Shrine was founded in the tenth century by Rājarāja I. This monarch reigned from A. D. 985 to 1013. He was the greatest of all the long line of Chola kings, a dynasty which appears to

4

have existed several centuries prior to the Christian era, and to have remained in power considerably over a thousand years.

## THE ENTRANCE.

KROWN as the Brihatisvara Temple the vast edifice to Siva occupies a large portion of the southern half of the Small Fort. Remains of a once formidable moat still front the principal entrance. This consists of a wide, but not especially high gateway, in the east wall. Immediately inside is the enclosure which was converted into an arsenal by the French in 1772.

To left and right of the entrance stand two small shrines dedicated to Ganesh and Subramannia respectively, the elder and younger sons of Siva.

## THE ELEPHANT GOD.

GANESH is also known as Gannapatti or, in Sanskrit, as Vigneswara. He is represented as part elephant and part man. He is to be found at the entrance to every Hindu temple, for all religious ceremonies commence with an invocation to him.

The story of his birth is mythical in the extreme. The legend runs that as Siva and his wife, Parashakati were looking at themselves in a mirror their reflections met. Simultaneously the powerful elephant god sprang into being. Ganesh is often made to appear riding on a mouse, that small animal being sacred to him.

5

## THE PEACOCK GOD.

SUBRAMANNIA is the second son of Siva. This deva is depicted as possessing six faces—five in front and one behind—each representing one of the six centres of the human body as understood in Hindu psychology. He invariably sits on a peacock, and is worshipped as God of War and of Wisdom. Those pray to him who are desirous of subjugating matter.

## THE GATEWAY.

ABOVE the shrines of these two popular devas the gate rises to a height of some forty feet. In conformance with Hindu custom it is coated with whitewash. Surmounting it are gaily coloured plaster figures, and the inscription “Tanjore Sree Brahmadeeswaraswamy Temple.” The centre of the carved and painted group is occupied by Siva, and his goddess Parvati. To left and right are their sons, and beyond again are Subramannia’s two wives, Vellianni and Thavianni. The outer figures represent hermits, Siva’s gluttonous servant, Gundotharam,—the hero of the favourite Hindu marriage legend,—a lion, and the sacred bull.

## THE VISHNU COPURAM.

BEYOND the enclosure once used by the French as an arsenal rises the great gopuram of the second entrance. Among the elaborate carvings which cover the tower, Vishnu is represented in a

6

standing posture, and the remainder of the decorations set forth different episodes connected with his career. In the interior of the gateway there are two recesses. These contain the upper and lower portions of the car, known as Gorathani, employed in the minor processions that take place every month.

## THE SIVA COPURAM.

HE carvings on the second Gopuram are all associated with Siva. Some of the figures are particularly fine, notably those of the Darwara Palakas, or gate-keepers. These two statues almost invariably stand sentinel at each side of all entrances to Hindu temples. They generally occupy a raised platform, or niche, to right and left.

In common with every sacred Hindu form, whether of man, beast, bird, fish or reptile, the Darwara Palakas possess a deep spiritual significance. They are not merely grotesque statues—sometimes large, sometimes small—placed outside the doors and gateways of sanctuaries for purposes of display. They are there to give a message and convey a warning.—Each is portrayed as having four hands, two for prayer and two for blessing. The upraised forefinger of the lower right hand signifies, “Sinners must not enter here!” The wide open palm of the upper right hand threatens; “I smite those who disobey my order!”

The inner walls of this gateway are inscribed with the ancient history of the temple in Tamil-Dravidian.

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## THE QUADRANGLE.

HE Siva gopuram gives admittance to a spacious central quadrangle containing the temple proper, and a number of other interesting and important buildings. This large courtyard measures 500 feet by 250 feet. It is surrounded by cloisters and is paved throughout with brick. The solid encircling walls are decorated, round the top, with no less than one thousand and eight stone bulls.

## THE NAUTCH GIRLS' PLATFORM.

EAR the south-east corner of the quadrangle stands a big square well. Beyond and north of this is a raised stone platform approached by four steps, and enclosed by a railing. This is the stage upon which the far-famed Nautch Girls dance during the great annual festival in April.

## THE MAMMOTH BULL.

ACING the great Siva Temple is a white-washed pavilion gaily painted and supported by numerous pillars. It contains the mammoth bull, Nandi, about which such marvellous tales are told. The huge animal sacred to Siva is cut out of a particularly solid mass of hornblendic gneiss, and is 19½ feet long, 8½ feet broad, and over 12 feet high. Numerous bells are carved round its neck, and altogether it is a very fine and imposing figure. It owes its colour to the fact that it is constantly polished with gingelly oil.

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## A SWAYAMBU.

DEVOTEES of the temple regard the colossal bull as a Swayambu, i.e., an idol not made by human art. The legend runs that it gradually came up out of the earth. At first it was quite small, and everybody was pleased with it, but it rapidly increased in size until the Raja, becoming alarmed, sent for the chief of the temple masons. The King said to the man, "What is the matter with the bull? You must prevent it from getting any larger, or it will quite eclipse my temple." The master mason replied, "There is a living toad inside the bull. As it grows the bull is forced to expand." At this intelligence the Raja commanded the toad to be killed. The royal order was executed, and a break in the back of the statue is pointed out as irrefutable evidence of the truth of the story. Blood is still said to trickle from the old wound in proof of the fact that, although severely injured, the toad is still alive after a lapse of some nine hundred odd years.

## THE FLAG-STAFF.

IMMEDIATELY in front of the wonderful bull, Nandi, stands a large granite pedestal supporting a tall flag-staff cast in bronze. The four sides depict characteristic Saivite figures. The western face portrays Siva and Parvati riding on the sacred bull. To the south Subramannia and his two wives are shown seated on a peacock. To the east Ganesh is seen mounted on a mouse, while to the north is

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Chandikasaram, Siva's faithful messenger, armed with a hatchet.

## THE TEMPLE.

THE temple proper does not occupy the exact centre of the courtyard. Instead it is set slightly back towards the west. In common with nearly all buildings of the kind it faces the rising sun, the principal entrance being to the east. It is distinguished by a tower, similar in design to the Gopurams over the gateways. This rises fourteen storeys and attains a height of 216 feet. The supporting structure is 96 feet square. Crowning all is a gold tipped dome carved out of a single block of granite, and said to weigh 80 tons! This gigantic stone was brought from Sarapallam, a village four miles away. It was conveyed from there by means of an inclined plane and it took twelve years of strenuous and patient labour to raise it to the summit. The space at the base of the dome is so wide that a four-wheeled wagon could be driven round it with ease. Each corner of the tower, immediately below the dome, is decorated with the granite figures of two bulls, the animal sacred to Siva.

## THACHANAMORTY.

UTSIDE the temple, and resting against its south wall, is a small shrine, approached by a steep and precipitous flight of twenty-one stone steps. This is the sanctuary of Thachanamorty, the God who always turns his face towards the south.

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## THE WRITING ON THE WALL.

N the south-west corner of the great quadrangle a narrow door leads through the cloisters to an outer enclosure. This contains the five large cars only used in the famous April procession. In the near neighbourhood of these brightly coloured and gilded chariots the sacred cows wander about at will. They are watched over by two ancient granite figures blackened by time, and frequent applications of gingelly oil—the figures of Ganesh and the Rain God. The former was mutilated by the Muhammadans, hence his banishment to that out-of-the-way corner, no broken statue being held sacred by Hindus. Behind the two devas the wall is closely inscribed with Sanskrit characters relating the history of the temple.

## THE GODDESS OF GOOD LUCK.

EAVING the enclosure and returning to the quadrangle some curious paintings are observable on the west and south walls of the cloisters. The first is that of Lakshmi, wife of Vishnu and Goddess of Good Luck. The second depicts Brahma's wife, Sarasvati, the Goddess of Music and Learning, while the third portrays Kali, the dread goddess of blood sacrifice, slaying a bull.

The next group shows Ganesh riding a mouse, Siva and Parvati on a bull, and Subramannia on his peacock. Then follow a series of pictures illustrative of sixty-four miracles worked by Siva.

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## THE MASON'S PROPHECY.

LARGE and remarkably beautiful temple to Subramannia occupies a north-westerly position in the quadrangle. Standing west of this, and looking up at the great wall of the Siva temple, four figures may be described rising one above another in a straight line. The lowest is much larger than the others, which gradually decrease in size, finally terminating in a man's head crowned by a bowler hat. The man wears a beard, and bears a fanciful resemblance to King Edward.

It is claimed that the masons responsible for the carvings were inspired by a vision of the four dynasties destined to rule over Tanjore. The first is the tallest, and represents a warrior standing with drawn sword. This is supposed to symbolise the Chola kings, whose reign lasted for so many hundreds of years. The second figure is that of the Nayak rajas, the third of the Marathas, and the fourth of the British.

A less fanciful interpretation of the phenomenon of finding a European carved upon an ancient Hindu Temple is that it represents a Dane, who rendered valuable assistance to one of the Nayak Rajas either just before, or shortly after the acquisition of Tranquebar, by Denmark, in 1620. It is a fact beyond dispute that Roelant Crape, the pioneer of Danish enterprise in the country, had spent part of his youth at the Court of Tanjore.

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## INSCRIPTIONS.

THE base of the great temple is closely covered with inscriptions. These date from the 10th century, and were commenced by Rájáraja I, the founder of the sanctuary. They have been copied by the Government Epigraphist, and translations are to be found in the voluminous work entitled, "South of India Inscriptions."

## THE SUBRAMANNIA TEMPLE.

BUILT about a century later than the big Siva Temple the beautiful shrine to Subramannia well deserves special notice. Its walls are completely covered in the most delicate and exquisite carving. Fortunately they have alike escaped the ruthless brush of painter and white washer. So perfect is every detail of the carving that the petals of the smallest and closest flower stand out from the masonry, and a fine thread may be passed between.

Flights of steps lead up to either side of the shrine, but the principal entrance is to the east. This last gives access to a pillared hall, the upper end of which is cut off from the actual shrine by two doorways and a narrow passage. Needless to say none but Brahmans may brave these barriers.

The walls of the hall are adorned with portraits of the Mahráta Rajas of Tanjore. The furniture consists of curiously fashioned figures of birds, animals and

13

legendary horses, studded with imitation jewels,—chiefly diamonds and rubies. They are more quaint than beautiful, the most interesting things in the collection being the palanquin, or dandy of the last Raja, and an elaborate model of the fabulous flying car of Ravana, the ten-headed king of Ceylon.

## THE YOGI.

N the north-western portion of the big quadrangle stands a small shrine surmounted by the figure of a hermit. This marks the spot where an eminent Yogi lies buried.

## THE TEMPLE OF PARVATI.

LITTLE beyond the beautiful shrine erected, to Subramannia, and north-west of the celebrated bull, Nandi, rises the temple of the goddess, Parvati. None but high caste Hindus may pass its jealously guarded portals, inside which the tall figure of Siva's wife stands 15 feet high.

## UNUSUAL PRIVILEGES.

CURIOUS feature about the great temple at Tanjore is that Sudras are admitted to the enclosure leading to that sanctum sanctorum the innermost shrine of the god himself. In no other temple of the district are they accorded so uncommon a privilege. Another strange example of unaccustomed tolerance is furnished by the fact that Valaiyans,—who

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are usually not allowed entrance to the hallowed precincts at all,—may penetrate as far as the miraculous bull. This leniency is the more surprising in view of the legend that even so holy a man as the saint and poet, Appar was refused admittance.

Possibly those in authority hope that, by thus extending the hand of good fellowship to castes not in the habit of being so favoured, they may even, at this eleventh hour, be rewarded by "entertaining an angel unawares."

## THE TANK.

N order to reach the Sivaganga Tank it is necessary to go outside the east gate of the temple, and follow the high wall as it leads first north and then west. The large reservoir is solidly built of stone, and was once revetted throughout. Steps lead down to the water, which is of a peculiarly thick reddish colour, and does not look especially inviting.

## THE OLD MISSION CHURCH.

F RONTING the Sivaganga Tank is an open square planted with some fine trees. To the east of this lies the old Mission Church. Stone walls enclose it on all four sides, while its western face is marked by a small marble tablet. This describes how the edifice was constructed in 1779 by the distinguished Missionary, Schwartz. The interior of the building is very plain, but there is something distinctly attractive about its simplicity. The west end is decorated with a

15

beautifully carved group, in white marble, by the sculptor Flaxmann. It depicts Schwartz lying on a bed surrounded by three men and four boys. The scene thus perpetuated represents a visit paid to the dying missionary by Raja Sarabhoji in November 1797. Below is the following inscription :—

To the memory of the
Reverend Christian Frederic Schwartz
Born at Sonnenburg of Neumark in the Kingdom of Prussia
The 26th of October 1726
and died at Tanjore the 13th of February 1798,
In the 72nd year of his age.
Devoted from his early manhood to the office
of Missionary in the East
the similarity of his situation to that of the
first preachers of the Gospel
produced in him a peculiar resemblance
to the simple sanctity of the Apostolic character
His natural vivacity won the affection
as his unspotted probity and purity of life
Alike commanded the
Reverence of the
Christian, Mahomedan and Hindu
For sovereign princes, alike Hindu and Mahomedan,
selected this humble pastor
As the medium of political negotiation with
the British Government
And the very marble that here records
his virtues was raised by
The liberal affection and esteem of the
Raja of Tanjore
Maharaja Sirfojee.

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## THE PALACE.

THE palace is composed of a bewildering series of large and rambling buildings generally attributed to the Nayak Rajas. Those responsible for its construction do not seem to have followed any settled plan, or to have been guided by anything more definite than the particular whim, or need of the moment. The result is confusing in the extreme, the general impression left on the mind being of something curious rather than beautiful.

Entrance is by way of a large quadrangular courtyard. The encircling walls are pierced by big gateways to the north and east, and by a small postern in the north-west corner. The enclosure is planted with some old trees, under one of which stands an ancient elephant. This venerable animal belonged to the last Maharaja of Tanjore, and is nearly a hundred. The courtyard leads to a many-pillared hall. To right and left of the main door are shrines to Lakshmi, Goddess of Good Fortune, and to Subramannia, also dignified by the title of Doctor of Wisdom. Paintings adorn the high ceiling, while the outer corridor, on the west side, served as a guard room for sepoys and bandsmen. Over the central door is a large portrait of the last Raja, immediately below which appears a gaily painted figure of that all-popular deva Ganesh.

A small inner courtyard gives access to a larger one. The archway between is adorned with a hunting picture

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of the last Raja. Further on yet another archway has its inner walls enlivened by brilliantly coloured representations of Hanuman, the Monkey God, Lakshmi and Krishna.

## THE DARBAR HALLS.

THE chief sights of the palace are generally considered to be the two great Darbar Halls, called respectively after the second and third dynasties which ruled over Tanjore, namely, the Nayaks and their supplanters, the Maráthas.

## THE MARATHA HALL.

THE handsome throne room faces a square courtyard, above which it is raised a couple of feet. A fine effect is lent by the many large pillars that support the lofty roof. Circular in shape and smooth these tall columns are coloured a rich tone of red, and are entirely decorated with twining garlands of grapes, and vine leaves in white paint.

From the body of the hall six brilliantly hued steps lead up to a stone platform. Here the huge octagonal columns appear in vivid tones of yellow and red, and are surmounted by extremely ornate tops and a variety of plaster figures.

## SEATS OF THE MIGHTY.

THE centre of the platform is occupied by a slightly raised dais approached by a couple of steps. This supports a glittering crystal

2

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canopy beneath which the Rajá's gilt throne and sumptuous footstool stand between two less splendid seats, those of his two principal advisers.

The walls, in the immediate vicinity of the throne, are hung with immense oil paintings portraying all the kings of the Mahráta Dynasty.

## THE SKELETON IN THE CUPBOARD.

The platform to the left of the dais is a wooden cupboard provided with two doors. This contains a pair of skeletons, those of the Raja's nurse and her husband. Just why the sovereign desired to preserve such grim relics of his childhood's friends is not recorded. It may have been mere morbid fancy on his part, or the result of a promise made in jest and kept in earnest.

## THE PYTHON'S VICTIM.

Yet another grim trophy is treasured in a glass case on a small table near the cupboard containing the skeletons. It consists of a python wound about the body of a goat. This tragedy attracted the Raja's notice, during one of his hunting expeditions, and he commanded the bodies of both slayer and slain to be brought to the palace and there preserved.

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## A CHARITABLE RAJA.

To the right of the throne hangs a large oil painting which depicts a Darbar presided over by a Raja reputed so charitable that, at his funeral, showers of sandal scented rain are said to have fallen.

## THE OUTER COURT.

The open court in front of the throne room was used as an arena for buffalo fights. Rams, too, were pitted against one another, wrestlers met at close grips, and acrobats performed many wonderful feats.

To north and south of the enclosure are screened off upper places whence the ladies of the zenana witnessed the proceedings.

## THE NAYAK HALL.

The Darbar Hall of the Nayaks is much simpler in its general scheme of decoration than that of the Maráthas. In front three massive columns rise up to support a facade elaborately decorated with plaster figures. The floor is paved with alternate squares of black and white marble. Five steps lead up to a very remarkable slab of gneiss formerly occupied by the throne, but now used as a platform to support a fine white marble statue of Maha- raja Sarabhoji, by the sculptor, Chantrey. Deeply

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carved round the edge the gneiss slab is cut out of a solid
block. It measures 18 feet by 16 feet, and is 2½ feet
thick. The recess in the wall behind is filled with painted
figures representing Rama and his beloved queen Sita,
his three admirable brothers, and some of the leading
monkeys who rendered him such signal service in his war
against Ravana, the demon king of Ceylon.

The roof of the Nayak Hall is made conspicuous by a
curious raised platform, the place from which the
Rajas were in the habit of flying kites, a favourite
amusement of theirs, and one at which, from constant
practice, they were adepts.

THE LIBRARY.

F ACING the Nayak Hall is the Palace Library. This is of quite unusual interest. The shelves contain over twenty-two thousand volumes. The majority are in Sanskrit, but there are also rare editions in various Indian and European languages. These last include an Encyclopædia Britannica of the 18th century. The books have been catalogued by Doctor Burnell, and are pronounced of great value.

In addition to the many shelves of bound volumes there
are innumerable large cupboards completely filled with
old time books in tablet form. These are composed of
narrow strips of sandal wood of equal size, and are ex-
quisitely inscribed with the finest and most beautifully
characters cut with a sharp steel point. Each tablet

is pierced by a hole through which a cord is passed, the
pages being strung together after the fashion of beads on
a string. Finally the precious strips are bound firmly
round and deposited, for still greater security, in the folds
of a gaily coloured silk or cotton handkerchief.—Besides
these sandal wood tablets there are a vast quantity com-
posed of palm leaves. These are treated in a similar
manner so far as the binding is concerned.

According to Doctor Burnell the library represents
the result of three hundred years collecting by the Nayak
and Marátha Rájas. He ascribes many of the palm
leaves MSS. to the earlier period, but sets down the
majority as belonging to the eighteenth and commence-
ment of the nineteenth centuries. He considers that all
the Nágari MSS. should be attributed to Mahráta times.
A considerable number were collected at Benares by
Raja Sirfoji, or Sarabhoji.

The Library also contains several large portfolios
filled with interesting and valuable old colour prints.

THE GUDAGOPURAM.

T HE Gudagopuram or Armoury is the tall central tower which rises so conspicuously above the flat roof of the palace. Similar in design to the gopurams chiefly found above temple gateways it can be approached from several directions. One of the most direct is by way of a steep flight of narrow stairs

21

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situated in the north-west corner of the courtyard in front of the Mahráta Hall.

The tower is seven storeys high. By climbing to the summit a good idea is gained of the interior construction of buildings of the kind. Unfortunately the steps are badly worn in many places rendering ascent difficult, and descent dangerous to any but the very sure footed.

Each of the seven storeys is characterised by a domed central chamber encircled by arched and pillared corridors. These last lessen in number as the height increases. A large wheel-shaped contrivance of gaily painted wood is attached to every ceiling. From this arms were suspended, while muskets were stacked between the surrounding colonnades, the upper parts of which are decorated with artistically arranged plaster figures, beautifully modelled and painted. Each storey is treated to a different style of ornamentation. On the second are Cupid-like figures blowing bugles, horses appear on the third, kites—the bird sacred to Vishnu—on the fourth, and so on.

## MADAMALLAGAI.

UCH is the name given to the curiously constructed tower which rises from the palace roof at a little distance beyond the Gudagopuram. It is six storeys high and possesses more than a hundred very narrow steps. Tradition accounts for its presence thereby saying that it was built in order to allow a Raja to

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gaze across at Trichinopoly, in fervent worship of Sri Rangam, the deity in whose honour the splendid temple, near that city, was built.

## HISTORY.

N point of view of antiquity Greece is the only European country that can compare with Tanjore. Nothing, however, would be known of its early history were it not for the Tamil poets. Fortunately those old time chroniclers have handed down clear and comprehensive records. These relate how the ancient kingdom, in South India, had attained to a high degree of civilisation and commercial prosperity long before the dawn of the Christian Era.

Researches among the Tamil poets have further revealed that far back as the dominion of the Cholas extends they were not the first masters of the country. Prior to their advent upon the scenes the land was occupied by the wild Naga race, the savages from whom the present Kallanes and Maravans trace descent.

Apparently the Cholas were a body of non-Aryan invaders from Lower Bengal, who descended upon Tanjore by way of the sea. They sprang from the same stock as the Cheras and Pandyas, the two rival powers with whom they disputed the supremacy of the south for so many hundreds of years.

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## THE CHOLA DYNASTY.

THE existence of the Chola Kingdom as far back as 250 B. C. is attested by 'the edicts of King Asoka, the mighty Buddhist ruler of the widespread Mauryan Empire. It is probable that the dynasty flourished several centuries prior to that date. The ancient annals of Ceylon speak of the Cholas as having first invaded that island 247 B. C., and again one hundred years later. The country was likewise known to the old Greeks. Mention is made of it by Plotemy A. D. 130, who gives the capital as Uraiyur, now a suburb of Trichinopoly. It is also referred to in the Periplus Maris Erythraei about A. D. 246.

### EARLY DOMAIN.

ACCORDING to the Tamil poets the early domain was not extensive. It seems to have comprised the greater part of Tanjore and Trichinopoly, but did not reach much beyond Conjeeveram in the north. Panal Nadir, or Land of Floods, was the name by which it was known.

### ANCIENT RULE.

THE Chola kings seem to have ruled their little kingdom wisely and well. Practically enjoying immunity from the north the only interference they had to fear was from their rivals in the south, the Pandyas and Cheras. As is inevitable between

25

near neighbours of the kind disputes were of frequent occurrence. Indeed there seem to have been few periods in their lengthy career when they were not at war with one or other, if not both these powers. During such short intervals of peace as their country enjoyed they developed their arts and industries, built temples and palaces, and carried on a trade over seas. In glowing terms the Tamil poets sing of gold ladenships from far away ports, of vessels loaded with jewels from Ceylon, and of many other rare and costly luxuries in which, according to them, the Chola monarchs freely indulged.

The chief energies, however, of those in authority seem to have been concentrated upon the construction of extensive and cleverly planned irrigation works, which they inaugurated throughout their dominions.

### KARIKAL CHOLA.

THE first of the immensely long line of Chola monarchs to stand out with any degree of historical prominence is Karikal, or Blackfoot. A. D. 50-95. This king owed his name to an attempt to murder him by fire, from which he escaped with no more serious damage than scorched and blackened feet. He seems to have been a chivalrous and daring leader. Of his victory over the combined forces of the Cheras and Pandyas the Tamil poets relate how, when the Chera King was wounded in the back, that sovereign determinedly set himself to die by starvation rather than survive

26

such disgrace. The incident illustrates the high standard of heroism prevalent at that early period.

### NALANKILLI (THE GOOD).

NALANKILLI was succeeded by his son, Nalankilli, who reigned until A. D. 105. Like his father this king was successful in wars with his neighbours.

### KILLIVALLAVAN.

KILLIVALLAVAN, O less than nine princes united against Killival-lan in a determined effort to prevent his ascending the throne rendered vacant by his father's death. Their object was to divide the kingdom among themselves. Killivallan quelled the rebellion, married a princess from Ceylon, and dying without leaving a direct heir, was succeeded by his brother, Perunarkilli.

Two more early Chola kings are spoken of by the Tamil poets. Their names are also recorded in ancient inscriptions. One is lauded as a saivite saint and a devotee of Vishnu, a distinction which he owes to having erected temples to both deities.

### THE PALLAVAS.

WITH the advent of the Pallavas, invaders from the north-west who temporarily forced their influence upon Southern India, the Cholas became a subject people. Beyond paying a tribute,

27

however, they do not seem to have been much troubled by their conquerors.

### VIJAYALA.

VIJAYALA,OWARDS the close of the 9th century the Cholas regained their independence under Vijayala. Despite this momentous fact little is known of the further achievements of this monarch, and a like ignorance prevails with regard to his immediate successor, Aditya I.

### PARANTAKA.

PARANTAKA reigned from 906 until 946. He extended the Chola dominions, and pursued his victories as far as Ceylon. Having defeated the Singhalese king he styled himself "a veritable Rama in battle."

### RAJARAJA I.

RAJARAJA I. AFTER Parantaka's death the country drifted into an unsettled condition. Harassed by external and internal perils it was in danger of losing all the advantages gained under the three preceding kings. From this it was rescued by the advent of Rájarája I. 985-1013. No sooner had this able prince assumed control than matters began to mend, and it was not long before the kingdom of the Cholas had entered upon the greatest and most prosperous period of all its long career.

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The era of prosperity inaugurated by Rájarája continued, with but one brief interruption, for over a century. This best and most famous of Chola kings seems to have spent the greater part of his time in the field against his neighbours. By A. D. 1002 he had pushed his victories as far as Ceylon. The last inscription of his many triumphs is dated A. D. 1113. This describes him as having vanquished "the twelve thousand ancient islands of the sea."

Apart from the war-like side of his character Rájarája seems to have been possessed of many of the milder virtues. He was a lover of art and a devoted follower of Siva. He it was who built the great and beautiful Siva Temple at Tanjore. About this time he adopted the custom of prefixing his inscriptions with a short account of his exploits, an innovation for which history is much indebted to him.

## RAJANDRA CHOLA.

DURING the last years of his reign Rájarája shared his throne with his son, Rajendra Chola, A. D. 1011—1044. This prince followed in his father's footsteps, and his many long inscriptions give full details of his victories. He sent a naval expedition to Lower Burma, conquering the Nicobar Islands on the way. He appears to have carried his successes as far as the Ganges, for he assumed the title of Gangai-Konda-Chola, or "The Chola Conqueror of the Ganges." He also named a town in

29

honour of this victory, calling it Gangai-Konda-Cholapuram, and in 1022 made it his capital in preference to Tanjore.

## RAJADHIRAJA DEVA I.

IN order no doubt to avoid subsequent disputes and bloodshed Rajendra caused his nephew to mount the throne during his lifetime. This King—Rájadhirája Deva I.—engaged in successful wars against the Cheras, Pandyas and Singhalese who appeared to have joined forces against him. An inscription records how he “cut off the beautiful head of Mánábharanan,” how he seized “Virakeralan of the broad ankle rings, and was pleased to have him trampled by his furious elephant,” and, finally how he drove “Sundará-Pandya, of great and endless fame,” to take flight bareheaded, and how, in the fierce conflict, this monarch lost “his royal white parasol, his whisks of the hair of the white yak, and his throne.”

That Rájadhirája entertained a fairly high opinion of his own achievements is proved by his performing the Asvamedha, or Horse Sacrifice, a ceremony only ventur ed upon by the mightiest and most successful monarchs. His career ended in 1053 when he was slain in battle.

## RAJADHIRAJA II.

THE decline of Chola power began during the 12th century. In the Pandyan war of succession the Chola King and the King of

30

Ceylon took opposite sides, with the result that the former was defeated. The victorious Singhalese made use of the opportunity to pay off old scores. An inscription found near Conjeeveram gives a graphic account of the Chola's consternation. It describes the ravages of the invaders, "very wicked men, all sinners against Siva," and goes on to tell how they had "removed the sacred door of the temple at holy Rāmeswaram, obstructed the worship, and carried off the treasures."

### KULOTHUNGA III.

THE next king, Kulothunga III. resumed the war against Ceylon. He defeated the Singhalese, "cut off their noses and drove them into the sea." He also captured Madura, and set his own candidate on the Pandyan throne. After these victories he assumed the title of "Conqueror of Madura and Ceylon."

### RAJARAJA III.

ANDER Rájarája III. (1216—1244) the Chola forces suffered a fatal reverse. The country was invaded by the King of Pandya who burnt down Tanjore and Uraiyur. Before retiring the conqueror added insult to injury by returning the kingdom to the Cholar monarch as a gift.

### THE HOYSALA BALLALAS.

BOUT this time a new power began to loom large on the southern horizon, that of the Hoysala Ballalas. They assisted the Cholas

31

against the Pandyas, and established themselves near Sri Rangam, Trichinopoly. From being protectors and friends they rapidly became dictators and finally enemies.

### THE MUHAMMADANS.

EARLY in the 14th century the sudden invasion of the Muhammadans threw South India into direst confusion and terror. The enemy penetrated as far as Rameswaram. The Hoysalas were destroyed, and the path laid for the great empire of Vijayanagar.

### NAYAK DYNASTY.

SANSKRIT poem states that Sévappa Nayak (1544-1572) obtained the Kingdom of Tanjore by his own valour. The author of this assertion was the eldest son of the prime minister of the second and third Nayak rajas. In flat contradiction of this an old Telugu poem tells how Sévappa received Tanjore, as dowry with his wife, who was sister-in-law to Achyuta Emperor of Vijayanagar.

### ACHYUTAPPA NAYAK.

CHYUTAPPA (1572-1614) ascended the throne during his father's lifetime. An inscription of his, dated 1577, is found in the big temple at Tanjore. He was an enthusiastic patron of religion and letters, but his reign was troubled by the opposition of a descendant of the ancient Chola kings, the last of the line of whom there is any record.

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## RACUNATHA.

N 1614 Achyutappa abdicated in favour of his son. He then retired to Sri Rangam, where he led a life of prayer and seclusion. The new king inherited his father's taste for literature, and like him was a patron of religion. He built temples to Vishnu and Chatterams. His war with Pandya ended by his marrying a Pandyan princess.

## THE MUHAMMADAN YOKE.

LL this time Tanjore had been subservient to Vijayanagar, and although that great empire was on the wane, the Nayaks were paying tribute as late as A. D. 1611. In their efforts to throw off the yoke they unwittingly assumed another—that of the Muhammadans.

## FALL OF THE NAYAKS.

FEUD brought the Nayak dynasty to an end in 1673. The King of Tanjore refused to give a member of his family as wife to the Madura monarch. The latter at once invaded the country and, advancing on the capital, killed the king.

## MARATHA DYNASTY.

HE Maratha dynasty was founded by Venkaji, the son of a Bijapur Maratha General. He had been ordered to assist a youthful son of the last Nayak King of Tanjore to establish himself on

33

the throne. This he did, but in the intrigues that followed he was persuaded to take the reigns of government into his own hands. By this time European influence was already at work in the country. In 1612 the Portuguese had settled at Negapatam while that Danish had acquired Tranquebar in 1620.

## VENKAJIS' SUCCESSORS.

ENKAJI'S reign was troubled by constant wars. He left three sons, each of whom reigned in turn.

Shahji, 1687—1711.

Sarabhoji, 1711—1727.

Tukkoji, 1728—1735.

The last was succeeded by his eldest son. This prince died within a year, and his widow, Sujana Bai, assumed control. She was not left long in power. The influence of the Muhammadan Commander of the Fort set a pretended nephew of Tukkoji upon the throne. Meanwhile Saiyaji, the second son of King Tukkoji, was at Pondicherry imploring help of the French. In August of the same year he succeeded without their aid, but his stay at Pondicherry had been fruitful in so far as it led to the French acquiring Karikkal.

## PRATOP SINGH.

AIYAJI was not a popular ruler, and was deposed in favour of Pratop Singh, an illegitimate son of Tukkoji. Nine years after his

34

deposition Saiyaji applied to the Madras Government to
restore him. He made his story so good that, regarding
him as a much wronged prince, they agreed to do so on
condition that he should bear the cost of the war and
cede the Fort and territory of Devicotta.

The first expedition consisted of 430 Europeans and 1,000 sepoys. It failed, but the second, under Stringer Lawrence, and accompanied by young Clive, captured Devicotta, which was afterwards ceded by Pratop Singh, and a peace concluded, that prince being left in possession of the throne.

SARABHOJI.

RATOP Singh was followed by Tulsaji, who died in 1787. This Raja only left one child, an illegitimate son named Sarabhoji. The young man's claim to succeed being considered invalid he was passed over in favour of his father's brother, Amar Singh. At the same time he was placed under the guardianship of the new Raja. Finding that his uncle was treating him cruelly the British removed Sarabhoji to Madras for safety.

Sarabhoji employed his exile in petitioning for his
father's throne. His relations supported his demands
until, finally, the Governor-General consented to depose
Amar Singh. In 1798 Sarabhoji was declared Raja of
Tanjore. Much as he had desired the position he soon
wearied of it. Before long he suggested that the country

35

should be taken over and administered by the British.
This was done. A suitable pension was assigned the
Raja whose authority was thenceforward limited to a
small area around the Fort.

LAST RAJA.

N 1824 Sarabhoji was succeeded by his son Sivaji. This Raja seems to have been an absolute non-entity. Writing of him the eminent missionary Schwartz, who spent so much of his life in the country, says, "The King of Tanjore is, in the estimation of the ignorant, a prince who governs according to his despotic will, but he is in fact more a slave than a king. He seldom goes out, and often when he proposes to do so the Brahmans tell him it is not an auspicious day. This is sufficient to confine him to the house."

Sivaji died in 1855 leaving three widows but no heirs
to the throne. In this way the last of the Tanjore
dynasties came peacefully to an end. After flickering
up for a brief space it snuffed out like a candle burnt
down to its socket.

Complete Pocket Guides to Places of
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BY

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(1) "Three Days at Delhi" with Map.

(2) "Three Days at Agra" with Map. Includes Fatehpur-Sikri.

(4) Tanjore (The City of the Mammoth Bull). Illustrated.

(5) Trichinopoly (The Three Great Temples). Illustrated.

(6) Rameswaram (The Sacred Island). Illustrated.

(7) Madura (The Hall of 1,000 Pillars). Illustrated.

(8) Benares (The Hindus Holy City), with Map.

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