TALES FROM THE CAPITAL CITY – 164

Rediscovering the Lost Gateway of the Travancore Fort Palace

The entrance gate leading to the Palace of his Highness the Maharajah of Travancore,1868
Albumen print | 17.6 x 24.5 cm (image) | Royal Collection Trust: RCIN 2701522.

            

This photograph, depicting a ceremonial entrance to the Travancore Maharajah’s palace, sparked considerable discussion and debate when it was first made available by the Royal Collection Trust on their website. Dated 1868, it relates to the visit of Lord Napier, the then Governor of Madras, and Lady Napier to the kingdoms of Travancore and Cochin. The image forms part of a set of photographs documenting the gubernatorial visit. Interestingly, this photograph is preserved in an album presented to Queen Victoria by Lady Napier following the tour.

The initial debate among local historians centred on the identification of the location depicted in the photograph. I strongly maintained that the image showed an arch that once stood on the southern side of the Valiyakottaram (Fort Palace) complex, adjacent to the Padmanabhaswamy Temple in Thiruvananthapuram. Others, however, associated it with the Thevalli Palace in Kollam. Subsequent research, along with the emergence of previously unseen photographs of the fort area from the 1870s, has now put the matter to rest. We can confidently state that the photograph depicts the arch entrance to the Maharajah’s Fort Palace.

What remains puzzling, however, is that this arch — with its unapologetic Neo-Baroque attributes — is nowhere to be found in the fort area today. Considering that the Neo-Baroque style was in vogue from the mid-19th to the early 20th century, and given the 1868 date of the photograph, it is reasonable to suggest that the gateway was constructed in the early 1860s, during the reign of Maharajah Ayilyam Tirunal Rama Varma (r.1860-1880).

The 1868 photograph also reveals a fence lined with a few shrubs, beyond which stands a two-storeyed building — identifiable as the southern wing of the Levee Hall (the old audience hall), which still survives with minor alterations. The vacant plot with vegetation seen in the photograph later became the site where Maharajah Mulam Tirunal Rama Varma, a nephew of Ayilyam Tirunal, constructed the Krishna Vilasam Palace. This image therefore clearly indicates that the Krishna Vilasam Palace, on the southern side of the Padmanabhaswamy Temple, was built at a later date, most likely after Mulam Tirunal ascended the throne in 1885.

Krishna Vilasam palace, c.1900. Photographed by D'Cruz, the Govt. Photographer.
British Library collection.

Photograph showing the two-storeyed southern wing of the Levee Hall and the
northern portion of Krishna Vilasam, which now occupies the vacant plot seen in the 1868 photograph.

The archway that replaced this rather flamboyant Neo-Baroque structure is, unfortunately, a plain Neo-Classical gateway, characterised by a pronounced cornice and a pedimented crown. It was most likely commissioned by Mulam Tirunal and reflects the comparatively restrained artistic sensibilities of the ruler.

The Neo-Classical gateway that replaced the one seen in the 1868 photograph. Photographed by Sailal. S, 2014.

Note: The Neo-Baroque arch features in the backdrop of an early painting by Ravi Varma. The painting will appear in my forthcoming book The Forgotten Atelier.

TALES FROM THE CAPITAL CITY – 159

 The Travancore Photograph That Wasn’t the First

Travancore history enthusiasts and scholars of the history of photography would be familiar with this image of Maharajah Ayilyam Tirunal Rama Varma (r.1860-1880) of Travancore with his consort, Panapillai Kalyanikutty Ammachi of Nagercoil Ammaveedu (d.1909), a poet and renowned beauty of her time. The photograph is frequently circulated on social media with an absurd caption that typically reads along the following lines: “The first photo captured in Kerala in 1865 features Maharaja Ayilyam Tirunal of Travancore and his wife, Kalyanikutty Ammachi. In exchange for this historic picture, he rewarded the photographer with 2,001 gold coins, 500 quintals of black pepper, 100 quintals of cardamom, and 100 quintals of dried ginger!”

The comments section is often flooded not only with unkind remarks focusing on the erstwhile ruler’s physique and his supposedly ‘common man’ appearance, but also with responses from individuals who, unfortunately, accept without fact-checking the claim that such an extravagant payment was made to the photographer in cash and in kind.

As someone who has researched the history of photography in the Travancore court, I can state with confidence that this is certainly not the first photograph from Kerala. Nor does it stand any chance of being the first photograph taken of a member of the Travancore royal family. The distinction of being the first Travancore ruler to be photographed belongs to Ayilyam Tirunal’s uncle, Rajah Uthram Tirunal Martanda Varma (r.1847-1860), the younger brother of Rajah Swathi Tirunal Rama Varma.

Although it is not known with certainty who photographed the king, a record dated 1037 M.E. (1862) notes the sum of Rs. 440 issued by Maharajah Ayilyam Tirunal for the purchase of twelve photographs, among which was included a photograph of his late uncle, Uthram Tirunal. On another occasion in the same year (1037 M.E.), the Maharajah paid Rs. 310 to Arbuthnot & Co. for a photograph taken of him during a visit to ‘Chennapattanam’. Therefore, before accepting the misinformation circulating on social media, I hope readers will take note of these documented facts.

For further insights into the early history of photography at the Travancore court, including rare photographs of Rajah Uthram Tirunal Marthanda Varma and early Government Photographers such as Zacharias D’Cruz and J. B. D’Cruz, look out for my forthcoming book, The Forgotten Atelier.

25.02.2026

TALES FROM THE CAPITAL CITY – 149

Fragments of a Forgotten Atelier: Early Works of Raja Ravi Varma

Despite the considerable corpus of research on Raja Ravi Varma and his oeuvre, relatively little is known about his early career in Travancore, particularly during his tenure as Court Painter under Maharajah Ayilyam Tirunal. Due to the scarcity of surviving records from this period, one of the few ways to trace the evolution of his artistic sensibilities and technique is through a close study of the works he produced during those formative years.

However, a significant impediment to such inquiry is the limited accessibility of Ravi Varma’s early paintings to art historians and researchers. Most remain in private collections, often undocumented and unseen by the wider public. The documented phase of his artistic career is typically said to begin with the commissions he received in the 1870s from Kizhakkepat Krishna Menon, a Sub-Judge based in Thalassery.

In the course of research for my forthcoming book, I encountered several early works by Varma from the period when he served as a dedicated painter in the royal atelier. Today, I wish to introduce one such painting: a portrait dated to around 1880, depicting Nagan Narayana, also known as Nanoo Pillai (1827–1886), who served as the Dewan (Prime Minister) of Travancore from 1877 to 1880.

Dewan Nanoo Pillai, painted by Ravi Varma c.1880.

Ravi Varma, then a young but already accomplished artist, was widely praised for his ability to capture a striking and often flattering likeness of his subjects. In this portrait, he renders Nanoo Pillai’s face with finesse, attending closely to the rich embroidery of the turban and the detailed textures of the Dewan’s attire. Yet, as the viewer’s gaze moves away from the face, it is drawn to a striking anomaly — a disproportionately elongated arm, with unnaturally long fingers hanging downward.

This curious flaw stands in contrast to the otherwise meticulous execution of the work, offering a glimpse into the complexities and evolving practices of the artist during his early years.

Another noteworthy detail in this painting is the subtle and ingenious way in which Ravi Varma incorporates his signature. The Dewan is depicted holding a small piece of paper—presumably a letter—and inscribed upon it, facing the viewer, are the words: “Wishing you all happiness, I am Yours Very Sincerely, Ravi Varma.” This discreetly embedded signature suggests that the painting may have been intended as a personal gift from the artist to the esteemed minister, whose tenure concluded in 1880, shortly after the passing of Maharajah Ayilyam Tirunal.

It is important to note that 1880 marked a pivotal moment in Ravi Varma’s early career. The death of Ayilyam Tirunal, under whom Varma had enjoyed patronage and prominence, heralded a shift in the court's artistic climate. With the accession of Maharajah Visakham Tirunal Rama Varma, whose disapproval of Ravi Varma was reportedly well known in courtly circles, the artist's position within the Travancore court became increasingly uncertain. This transitional phase thus adds a layer of poignancy to the painting, which may be read as both a farewell gesture to a valued patron and a quiet reflection on changing fortunes at court.

In the 1940s, G.R. Natham, an artist based in Nagercoil, was commissioned to retouch the Dewan’s portrait. What renders this episode particularly noteworthy is that, fully aware of the painting’s provenance, Natham chose to inscribe his own name on the restored work.

Far from being an act of irreverence, this gesture may be interpreted as a conscious assertion of artistic agency. Like many followers and imitators of Raja Ravi Varma, Natham positioned himself within the extended lineage of the master’s legacy—an attempt, perhaps, not merely to restore a revered artwork, but to participate in its ongoing history and to claim a modest place within its narrative.

Sharat Sunder R

21.04.2025.

TALES FROM THE CAPITAL CITY – 141

THE RAJAGOPURAM OF PADMANABHASWAMI TEMPLE

The eastern gopuram of Padmanabhaswami temple, also known as the ‘Rajagopuram’, is undoubtedly one of the majestic edifices erected by the rulers of the erstwhile Travancore kingdom. Though the credit for constructing the gopuram is claimed by Anizham Tirunal Martanda Varma, the founder of the Travancore kingdom, the annals at Padmanabhaswami temple take us back to the sixteenth century, to the reign of Aditya Varma, when Thottathil Achari, a master craftsman, is recorded to have laid the foundation stone of the eastern gopuram in 741 M.E. (c.1566 C.E.). Subsequent chronicles shed light on the internal strife among the Venad rulers and the powerful madampis, disrupting the smooth conduct of the construction activities. 

The royal commission was destined to remain dormant until the eighteenth century when Marthanda Varma took matters into his own hands. Martanda Varma appointed Kesavan Vishnu Thrathan of Thycattu Illam as the Stapathi and went about a thorough renovation of the Padmanabhaswami temple. When Marthanda Varma passed away in 1758 C.E., only five out of the seven storeys of the gopuram had been finished; however, the work progressed through the reign of Karthika Tirunal Rama Varma. The gopuram, when finished, stood at a soaring height of about a hundred feet and had every inch of its exterior decorated with fine stucco figurines depicting episodes from the Hindu epics.

Sannidhi-Vaasal, the eastern entrance to Padmanabhaswami temple, c.1868, The Royal Collection Trust. Note the absence of the finials in this photograph.

The gopuram, though it maintained an irrefutable presence in the skyline of the capital city, was to remain incomplete for the next hundred years. The earliest photograph of the gopuram from 1868 shows it without the seven golden finials—the kalashas—atop the ridge. The task of completing the project was taken up (c.1872) by Dewan Sir. Sashiah Sastri K.C.S.I. during the reign of Maharajah Ayilyam Tirunal Rama Varma (r.1860-1880). 

Sir A. Sashiah Sastri, Dewan of Travancore.

The following details regarding the completion of the eastern tower can be gleaned from the biography of the Dewan:

“The tower of Sri Padmanabha Swami temple at Trevandrum, which had been long left incomplete, was completed. Finials plated with gold were set up over the topmost storey of the tower and the gilt spires of Sri Padmanabha became a landmark amid the green fields and verdant groves for forty miles around.”

The eastern gopuram with the finials, c.1900 (attributed to D’Cruz, the Govt. Photographer), The British Library collection.

Sharat Sunder R

July 2023.

TALES FROM THE CAPITAL CITY – 132

COIMBATORE RAGHAVA AIYER

Raghava Aiyer (b.1826-d.), a second-generation Mullamootu Bhagavathar (an epithet used by the Travancore court musicians) was born in Vadasherri near Nagercoil. Young Raghava Aiyer was fortunate to receive training in music from the famous Palghat Parameswara Bhagavathar, who had adorned the royal court since the days of Swathi Tirunal Rama Varma. After a brief stint at Trivandrum and Haripad, Raghava Aiyer was helped by Cherunni Koil Tampuran, the elder brother of Kerala Kālidāsa Kerala Varma Valiya Koil Tampuran, to relocate to Coimbatore. At Coimbatore, Aiyer resumed his lessons under Chidambara Nattuvan, the grandson of the renowned Vadivelu Nattuvan (one among the Tanjore Quartets of Swathi’s court).

Raghava Aiyer was introduced to Maharajah Ayilyam Tirunal Rama Varma by M. Kunjaru Raja of Mavelikkara (a talented musician and gifted player on Swarbat), during the latter’s visit to Madras. Later, the Maharajah invited Aiyer to Trivandrum, where he was appointed as a court musician. Not long after, the Maharajah developed a deep admiration for Aiyer’s singing and invited him to perform at the Sangumugham beach palace whenever the king visited the place with his close friends and advisors. 

However, around the early 1870s, a sly court musician poisoned the Maharajah’s ears with stories that would ultimately lead to Raghava Aiyer’s fall from grace. Crestfallen, he returned to his wife’s house in Haripad and led a quiet life. But by a stroke of luck, in 1874, Raghava Aiyer returned to Trivandrum on the Maharajah’s command for a musical duel at the Rangavilas palace hall. Ayilyam Tirunal was desperate to present Raghava Aiyer before Maha Vaidyanatha Aiyer, the unmatched musical virtuoso, who was invited to the capital for the Navarathri festival. The legendary duel went on for two days, by the end of which the Maharajah presented expensive shawls, pair of gold bangles and Rs.1500 to both the contestants.

Happily for Raghava Aiyer, his successful performance as a formidable Travancorean who could meet Vaidyanatha Aiyer on his own ground was enough to reinstate him back on the lofty pedestal as a royal favourite.

Sharat Sunder R, 05-09-2020.                  Based on 'My Musical Reminiscences' by T. Lakshmana Pillai B.A.

TALES FROM THE CAPITAL CITY – 110

A DIAMOND IN VELLAYAMBALAM

'A diamond in Vellayambalam', a write-up on Diamond Hill, the private residence of Sri. Nanoo Pillai, Dewan of Travancore, The Hindu 23-09-2017.

TALES FROM THE CAPITAL CITY – LXXXIII

REVIVING TRADITIONAL ARCHITECTURE

'Reviving traditional architecture', a write-up on architect Robert F. Chisholm and Travancore's brush with Indo-Saracenic architecture, The Hindu 11-09-2017.

TALES FROM THE CAPITAL CITY – LXCIIV

A PALACE FOR A SCHOLAR AND PRINCE

'A palace for a scholar and prince', write-up on Saraswathy Vilasam palace, West Fort, Thiruvananthapuram, the abode of Kerala Varma Valiya Koil Thampuran, a.k.a., Kerala Kalidasan, The Hindu 04-02-2017.

TALES FROM THE CAPITAL CITY – XXXIII

THE ‘OFFICIAL PHOTOGRAPHER’ OF THE TRAVANCORE ROYALS

'The ‘official photographer’ of the Travancore royals', write-up on Valerian J. Fernandez, artist, photographer, and interior decorator, The Hindu, 02-08-2014.