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SUBHASH PARIHAR
The architectural style that flourished in Western Europe from circa 1140 to around
the middle of the 16th century goes by the label “Gothic architecture”. This term was
not coined by the builders themselves but by the Italian artists of the Renaissance
period who used it in a disparaging sense. They identified the builders with the Goth
tribes, destroyers of the classical art of the Roman empire. In England, the word
“Gothik” as used by 17th- and 18th-century writers implies “tasteless” and “bizarre”.
The pointed arches and sharply tapering spires of the Gothic style evoked the
What is considered tasteless and bizarre at a particular point of time may be found
attractive at another point. And so it happened with the Gothic style. Eighteenth-
result the Gothic architectural style once again came into vogue. Historians termed
Although the epicentre of the Gothic Revival was Western Europe, its
vibrations were felt in distant places such as the little-known town of Faridkot – the
capital of a small Sikh state of the same name that flourished to the south of the Satluj
river in northwestern India, from the mid-19th to mid-20th century. Colonial politics
was mainly responsible for the reach of the Gothic Revival in this remote place.
Eighteenth-century India saw the gradual erosion of the power of the Mughal
empire. Taking advantage of the political vacuum, the Sikhs rebelled in Panjab.
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During the latter half of the century, various bands of Sikhs succeeded in carving out
small principalities throughout the region. At the end of the century the chief of one of
these principalities, Ranjit Singh, conquered the territories to the north of the Satluj
and established his kingdom with its capital at Lahore. To the south of the river, in the
region called Malwa, there came into being the small principalities of Patiala,
neighbouring Malwa states too. In 1808, he actually annexed Faridkot, which raised
If the Malwa chiefs were threatened by Ranjit Singh on the one hand, on the
other was the menace of the British East India Company. By this time the Company
had routed the Marathas and become virtual masters of the whole of India except
Panjab and Sindh, so their attention was soon focused on the Panjab states. The
Malwa chiefs, caught between the devil and the deep sea, decided to seek British
protection because they believed the British would take a longer time to overcome
In the meantime, with the rise of Napoleon in France, British affairs at home
became troubled. The Company had to temporarily halt expansion in India in view of
the rumours of a Franco-Russian attack on Indian territories via the land route through
Persia, Afghanistan, Sindh, and Panjab. But when in 1808 Napoleon attacked Spain,
and it seemed doubtful that he would think of India for some years to come, the
Company again became active in Panjab affairs. Taking the side of the Malwa chiefs,
it forced Ranjit Singh to sign a treaty under which he had to forego all his claims over
territories to the south of the river Satluj, including the state of Faridkot. On April 3,
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1809, Faridkot was returned to its chief Gulab Singh, and thus the state owed its very
After this the British lost interest in the Faridkot region as it was not a very
Panjab as a whole. When, after the death of Ranjit Singh in June 1839, his kingdom
became a battlefield among warring factions, the British took advantage of the
situation and joined battle with the Lahore army in December 1845 resulting in the
partial subjugation of the Lahore kingdom. It is not surprising that Pahar Singh, the
erstwhile chief of Faridkot state, sided with the British in their conquest of Lahore. In
lieu of the help rendered by him, the Company awarded him the title of Raja and
some territories. Raja Pahar Singh died in 1849, and was succeeded by his son Raja
To the good luck of the surviving princely states of India, the British stopped
their expansionist policies after the Rebellion of 1857. Not only this, all the princes
were assured of their protection, of course under certain conditions. The native states
accepted these conditions and came under the indirect control of the British who
appointed a resident at each large court. Faridkot being a small state had no British
After the death of Raja Wazir Singh in 1874, the state was ruled successively
by Raja Bikram Singh (1874–98), Raja Balbir Singh (1898–1906), Raja Brij Indar
Singh (1906–18), and Raja Harindar Singh (1918–48). As the last two rajas were
minors at the time of their coronation, the state affairs were controlled by a Council of
As already noted, the annual state income of Faridkot was meagre, the main
source being land revenue from agriculture which in this arid region was entirely
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dependent on the rains. When the British brought a branch of Sirhind Canal from the
river Satluj to Faridkot state in 1885, agriculture in the statein the region took a great
leap forward. The previous year the towns of Faridkot and Kot Kapura had been
connected with Lahore on one side and on the other with Delhi via Bathinda, Sirsa,
boost to trade. Both these factors multiplied the state’s income, which in turn gave a
fillip to architectural activity that continued well up to the merger of the state into the
names of various British officers as their founders or inaugurators, the Faridkot rulers
tried their best to keep British representatives in good humour. This they did by
It is interesting to note that in contrast, with the passage of time, the British in India
Lord Curzon presided over the durbar held at Delhi to celebrate the coronation of
Edward VII, he saw to it that the great tented encampment was decorated entirely in
The styles followed in England reached India too, first in the British structures
and then in native buildings. When the British were developing the Presidency towns
ETC.] [Now that I do not have Metcalf’s book at hand so I can not check the proper
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context of the statement] By the time the British had established themselves
throughout India, Gothic Revival was reigning supreme in Europe. And it was against
this background that the style appeared at Faridkot. However, it may be noted that the
British architectural styles did not reach here in an unmediated form but were slightly
transmission too was slow. Although the first signs of Gothic Revival were seen in
Madras and Calcutta at the end of the 18th century, the style took a whole century to
cover a distance of some 1,800 kilometres, reaching Faridkot after the extension of
the railways torailways to the state in 1884. By this time the style was reduced to the
use of the Gothic pointed arch, and spired and pinnacled turrets. No intricate Gothic
ribbed vaults were used here and consequently there were no flying buttresses.
All the three buildings of the state built in the Gothic Revival style – the Raj
Mahal, Clock Tower, and Kothi Darbarganj – were erected during the reign of Raja
Balbir Singh who ascended the throne on December 16, 1898. All were completed
before the end of 1902, as they are mentioned in the court history of the state, Aina-i
Brar Bans, published in December 1902.2 Raja Balbir Singh appears to have had a
special fascination for things European; in one of his oil portraits he is depicted
RAJ MAHAL
The royal family of Faridkot lived in the palaces of Faridkot Fort until Balbir Singh
erected a new palace complex for himself outside the fort. Called Raj Mahal, the
(figure 2). It consists of the main palace, another building called tasveer ghar (lit.
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pavilion), a gurdwara, three small pavilions called doll houses, [DOLL HOUSES,
GUEST HOUSE?], two swimming pools, some service quarters, a well, and a
beautiful gateway.
The main palace building, its longer side being along the east–west axis,
consists of two blocks joined by a porte-cochere (figure 3). The eastern part of the
Originally this part was symmetrically arranged on the east–west axis. The Dance
Hall on the south side was added much later, c. 1937–40. The western part of the
palace has a smaller suite of rooms surrounding a hall with an open court on the west
The main entrance of the palace building was on the east side as is indicated
octagonal turret so characteristic of the Gothic style (figure 4). The top storey of each
turret has openings formed by narrow pointed Gothic arches. Around the first floor of
(projecting eaves), a purely indigenous element. Its wooden parapet lattices are a
treasurehouse of geometrical designs (figure 5). The top parapet of the east block is
design. The description of the building by Philip Davies – “a jolly stucco colonial
The palace building is richly adorned with two types of decoration. On the
walls of both the porte-cocheres are meandering floral arabesques interspersed with
parakeet figures, all executed in cut plaster and now painted in gaudy enamels (figures
6 and 7). On the inner side of the main porte-cochere the Faridkot state coat of arms is
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depicted in the same medium (figure 8). The stucco work seen on the ceiling of the
main hall is finer in quality. Here the motifs are purely European.
The double-storeyed building to the south of the main palace is called tasveer
suite of rooms fronted by a verandah pierced with narrow pointed arches. Nearby is
the gurdwara which has a semi-octagonal front entrance. The building has no dome or
In the open gardens of the palace are scattered three light pavilions called doll
houses [DOLL HOUSE?] and numerous fountains. In one of the fountains water
Although at present the Raj Mahal complex is entered through two simple
gates in its west wall, the original entrance was through a magnificent gateway, called
deodhi [SHOW IN FIG 2][figure corrected], situated in the south wall, in line with the
eastern porte-cochere of the main palace. The ground floor of this triple-storeyed
building comprises a central passage flanked by guard rooms, the whole fronted by an
arcaded verandah (figures 9 and 10) [SHOW GUARD ROOM IN FIG 10][shown].
sunken recess in the middle, flanked by double pilasters extending the whole height of
the building. This recess is pierced by an elliptical entrance archway with two
windows above. On either side of the entrance arch are three pointed archways
supported by double pillars on each side on ground level, and an equal number of
square-headed openings on the first storey. As seen in the main palace, the upper
storey openings of this gateway are also fronted with light wooden balconies. At the
second storey level is just one room above the entrance archway, which has three
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lancet windows on the front side. It is topped by a cut-iron cresting and a hipped roof
accommodating a spiral staircase. The top storey of each turret forms an open-arched
pavilion, topped by a spire. The angles of the third-storey room and tops of spires are
The spandrels of the round entrance arch of the deodhi are adorned with cut
plaster arabesque designs. Each spandrel of the flanking ground storey arches has a
decorative medallion. The gateway building thus harmonizes with the palace building
in style and material used. All the buildings are painted in Eton blue.
Philip Davies dates the palace in the 1880s, but the whole complex was
actually built in stages. Even the main palace building was constructed in two stages
under the patronage of Raja Balbir Singh. The western part was built first, during the
reign of his father Bikram Singh (1874–98), while the eastern part and the deodhi
were added later, in 1899–1902, during his own reign “according to his desire and
taste”.4 The south hall of the main palace and small pavilions in the park were built
circa 1937–40 by the last Raja Harindar Singh. About 1945–46, the deodhi was
separated from the complex by a wall and converted into a hospital named after its
Situated to the north of Raj Mahal, the clock tower is still the tallest structure in
Faridkot town and thus forms a major landmark (figure 11). Thanks to the authorities
responsible for its regular maintenance, even after more than a century it survives in
good condition, and still serves its purpose. It is not known what the original colour of
the monument was. Now it is painted in garish green and yellow ochre enamels.
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Structurally, the clock tower is a free-standing tower built in the true Gothic
style, with four easily seen clock-faces on the cardinal sides. Originally, the tower
stood on a platform which has vanished due to the raising of the surrounding road
level. The tower proper, measuring 6.6 m square outside, rises in four storeys, each
marked by a cornice, the whole capped with a conical spire further surmounted by a
high metallic finial. The first and second storeys form chamfered squares whereas the
Each side of the first two storeys and the cardinal sides of the fourth storey are
pierced by a narrow Gothic pointed arch. The arches of the uppermost storey are
further subdivided into smaller arches. On the parapets of the first and second storeys
The various facades of the tower are decorated with a variety of motifs. The
spandrels of the archways of the first storey have arabesque designs in plaster relief.
The remaining surfaces are adorned with panels textured by simple geometrical
designs. Most of the corners are softened with fluted rectangular pilasters decorated
Only the first storey of the tower, forming an octagon of 1.6 m. side within,
has a ceiling, domical in shape. Upper storeys have no ceilings at all, and the walls are
bound by iron girders on which are placed wooden planks, forming various landings.
The southwest pier of the building accommodates a stairway giving access to the first
storey [(figure 12) OR DROP FIGURE 12][You may drop it and then change figure
numbers accordingly] from where a ladder is built in the southeast pier to reach the
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Watch Co., Calcutta. Most probably this clock was installed during the period of the
near contemporary writer Makhan Singh.6 The clock machine, wound once a week,
takes its driving power from falling weights. This power is controlled by an
oscillating mechanism. The controlled release of power moves the arms of all the four
faces. Each opal glass dial which displays the time is 111 cm in diameter and can be
The bell of the clock tower that rings every hour is on the fourth storey. It
bears the name of Taylor Loughboro, which most probably refers to the company
Messrs Taylors, Eayre, & Smith Ltd., Loughborough, United Kingdom, the leading
In its original form, the tower was not an isolated structure, but was
corrugated iron sheets, each placed at one corner of the chowk at the centre of which
stands the tower. These structures, visible in an old photograph, I have seen for
have seen for myself] OR IN PHOTOGRAPH?] (figure 14). The whole ensemble
must have presented a spectacular skyline in those days when there were no other tall
buildings around. Makhan Singh attests that the clock tower “presents a nice scene
along with its adjoining Barandari [BARADARI? As it is a quotation, I have used the
The significance of a clock tower at the beginning of the 20th century cannot
be exaggerated when hardly any individual could afford a watch. Moreover, it was a
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On each side of the clock tower the year 1902 is inscribed as the date of its
erection. These inscriptions are modern, of a few years ago, but the Aina-i Brar Bans
confirms the erection of the clock tower by Raja Balbir Singh as a memorial to Her
Majesty the British Queen Victoria who died on January 22, 1901.8 As the book was
interesting to note that there is at Georgetown in Malaysia a clock tower, the Victoria
Jubilee by the rich Chinese Towkay (master), Cheah Chin Gok.9 It is 60 feet tall
KOTHI DARBARGANJ
Now locally called Darbarganj Rest House, this Gothic Revival structure is situated in
a large garden to the northwest of the clock tower (figure 15). Makhan Singh
records that the rest house was nominated for the residence of the rulers of
neighbouring states and the [British] Agent of the Governor General [of India].10
The building comprises 12 suites, each with an attached toilet and dressing
room, and common kitchen, drawing room, and dining room (figure 16). The rear
suites are arranged around an open-to-sky courtyard, measuring 13.5 by 9.2 m and
surrounded by square piers. The longest part of the building measures 58.9 m and the
broadest is 43.6 m.
The east facade of the building is a very impressive composition. It has five
flanked by elliptical arched openings. The crowning of the building is in two levels.
pediment flanked by triangular members. The angles of the parapets are also planted
with fluted pitcher-like elements. On the upper parapet marking the level of the roof
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of the drawing and dining halls, is an arcade of Gothic pointed arches, flanked by
octagonal spires. In the centre rises a domical shape and not an actual dome, its body
marked with flutings. The arcade originally continued on all sides but its west side has
crumbled. All the spires have metallic finials, most of which are still extant.
plaster relief. The ceiling and cornice of the drawing hall also bear medallions in
stucco relief (figure 17). The designs on the ceiling are symmetrical stylized floral
motifs. The spandrels of the round arches on the facade also have flower medallions.
Makhan Singh writes that the rest house was equipped and befittingly
decorated with modern furniture.11 An old chandelier and some pieces of furniture are
contours of the building, and approached by six sets of stairs. Parts of cast-iron
railings are extant along the front of the platform. The railing has cast replicas of the
state emblem.
The rear part of the building comprising six suites is entirely different in
character from the front. In an interview Raja Harindar Singh told [WHO?] Sardar
had made extensions to the Darbarganj Rest House.12 Colonel Balbir Singh, the
Manager of the Maharawal Khewaji Trust which now looks after the property of
Faridkot state told me that this part was added about 1945–46.13
The Aina-i Brar Bans refers to the building as Paradewale Bagh ki Rafi-al
Shan Kothi mosuma Darbarganj, i.e. the high-ranking mansion of the Parade Garden
known as Darbarganj.14 Parade Garden was situated on the site now occupied by the
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Secretariat Building and Harindra [CHECK SPELLING, this is the spellings in the
CONCLUSION
On the basis of the stylistic similarity of the three monuments, it can be assumed that
all these were designed by the same person who remains anonymous. The Maharaja
of Baroda and Philip Davies give the credit for the Raj Mahal to a local master
craftsman Mistri Jagat Singh,15 but his title mistri indicates that he was the mason and
not the designer. Neither does the contemporary history Aina-i Brar Bans give his
name; however, it records that Raja Balbir Singh himself designed his buildings.16
This brings to mind the Mughal emperor Shahjahan who, according to his court
historian ‘Abd al-Hamid Lahori, himself drew the plans for the majority of his
buildings.17 The raja’s most probable source could have been standard books on
architectural design as was the case in the rest of British India. His interest in books is
well known, and he himself was a writer.18 He established the first printing press of
the state named after himself – Balbir Press. Also, he opened a public library which
had a collection of some 2,000 books, including fiction, and works on subjects like
These three buildings were the last examples of the Gothic flowering in the
state. The Gothic pointed arch did survive for some time in some other buildings too,
but not the spired towers. And soon the introduction of new building materials and
Figure Acknowledgements
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Notes
14
1
Jan Morris and Simon Winchester, Stones of Empire: The Buildings of the Raj, Oxford, 1983, p. 31.
2
Wali Allah Siddiqui, Aina-i Brar Bans (Urdu), Faridkot, 1902, III, pp. 711–12.
3
Philip Davies, The Penguin Guide to the Monuments of India, Volume II, Islamic, Rajput, European,
New Delhi, 1989, p. 146. The description of the palace given by the Maharaja of Baroda, too, is much
off the mark; see The Maharaja of Baroda, The Palaces of India, London, 1980, pp. 200–01.
4
Wali Allah Siddiqui, op. cit., p. 712; Punjab State Gazetteers, XVI A, Faridkot State, 1915, Lahore,
1917, p. 19; Makhan Singh, Investiture Ceremony [A Souvenir], Lahore, c. 1934, p. 63.
5
The full name of the company was J.B. Joyce & Co. Established in 1690, this is the oldest clock-
making company in the world. Later, in 1965, it became a part of Smith of Derby Group.
www.smithofderby.com
6
Makhan Singh, op. cit., p. 52.
7
Ibid., p. 64.
8
Wali Allah Siddiqui, op. cit., p. 711.
9
http://www.orientalarchitecture.com/georgetown/clocktowerindex.htm.
10
Makhan Singh, op. cit., p. 64.
11
Ibid.
12
Faridkot: Ik Sabhyacharak ate Sahitak Sarvekhan [Faridkot: A Ccultural and Lliterary Ssurvey],
14
Wali Allah Siddiqui, op. cit., p. 712.
15
Maharaja of Baroda, op. cit., p. 200; Philip Davies, op. cit. (note 3), p. 146.
16
Wali Allah Siddiqui, op. cit., p. 711.
17
‘Abd al-Hamid Lahori, Padshah Nama (Persian text), Calcutta, 1867, I, p. 149. For an English
translation of the relevant part of the work, see W.E. Begley and Z.A. Desai, Taj Mahal: The Illumined
18
Faridkot State Gazetteer, op. cit., p. 60. He was the only ruler of the state to evince an interest in
writing. According to the Gazetteer[CHECK], hHis book Ek Raja aur us ka Daura (A kKing and his
Ttour) ran into two editions, and he also edited two other works – Maharaja KKapurthala da
Safarnama (Travelogue of MMaharaja of Kapurthala) and Maharani Kapurthala di Diary (The dDiary
Captions
1. An oil portrait of Raja Balbir Singh.
2. Plan of the Raj Mahal complex.
3. Plan of the Raj Mahal palace building.
4. View of the Raj Mahal palace building, from the eastern side. [?]
5. Balcony of the Raj Mahal palace building.
6. Painted plaster decoration on the porte-cochere of the Raj Mahal palace building.
7. Detail of arabesque with parakeets on the porte-cochere of the Raj Mahal palace building.
8. Coat of arms of Faridkot state on the porte-cochere of the Raj Mahal palace building.
9. The Raj Mahal deodhi.
10. Plan of the Raj Mahal deodhi.
11. Victoria Clock Tower.
12. Plan of the Victoria Clock Tower.
13. Victoria Clock Tower bell and its inscription.
14. Old picture of the Victoria Clock Tower (circa 1915)[DATED …..]. [AT RIGHT ARE …..] At
the right side are one of the buildings that surrounded the clock tower, and the towers of a
baradari.
15. Kothi Darbarganj.
16. Plan of Kothi Darbarganj.
17. Stucco decoration on the ceiling of the main hall of the Kothi Darbarganj.
Gw26.10.10 SC/AKB