(This is an excerpt from a book written by Rao Bahadur D,B, Parasnis published in 1921, which I had found extremely absorbing. The excerpt gives a
detailed description of the Shaniwar Wada of the Peshawa's of Pune and I am sure that readers would find it interesting. )
Photograph taken in 1860
The
Shaniwar Wada was the most magnificent and stately mansion that was
ever built in Poona by the Peshwas in the 18th century. The foundation
stone of the building was laid by Bajirao I (1720-1740) on Saturday, the
10th of January 1730, being an auspicious day. On this occasion,
according to state records, Rs. 1-8 Anaas, were spent in charity. There
is an interesting legend about the site selected for this historic
building. While riding over this ground, the Peshwa Bajirao saw, to his
great astonishment, a hare chasing a hound, which struck to his mind
that there must be something very auspicious in this place, where a hare
forgetting its natural timidity boldly chased a dog. He at once
resolved to secure the site and build there a house for himself and his
family. At that time, this piece of land was included in the ' Kasba '
or village of Poona which was enclosed by a mud wall. It contained only a
few huts of fishermen and weavers, from whom Bajirao acquired five
acres of land by exchanging with them suitable sites in Mangalwar Peith
and commenced the building rapidly. Within an interval of two years, a
two storeyed Palace with three quadrangles sprung up to be the focus and
centre of all the life and movement of the Maratha power. The opening
ceremony of the Palace was performed according to Hindu religious
customs on Saturday, the 22nd January 1732, when Rs. 15-8 Anaas, were
paid in charity to Brahmans. It is stated that the total expenditure
incurred on this Palace came up to Rs. 16,110.
As
conceived originally the plan of the Palace was very simple and
elegant and only the Diwan Khana or the main hall oi audience contained
some ornamental carvings. It was the third Peshwa, Balaji Bajirao
(1740-1761), who made several additions and alterations, and added much
splendour and beauty to this fine mansion. He devoted his store of
knowledge as well as money and patience in turning out this edifice to
be an object of great delight and admiration. Later on, Nana Phadnawis,
Prime Minister to Sawai Madhavrao (1774-1795), constructed a few more
rooms and halls, galleries and towers, pavilions and fountains, and made
the royal residence truly majestic and grand, worthy of the great
rulers of Maharashtra.
The
Palace was destroyed by fire in 1827 and now there remain only the
fortified enclosure wall, and the five gateways, and nine bastions. It
is therefore impossible to form a correct idea of the actual building
which existed in the heyday of the Peshwa's power. The foundations of
the Palace and various other buildings in the extensive compound which
covers about five acres of ground have been recently unearthed by the
Archaeological Department. They give us a faint idea of the original
plans of the building but no picture of the real magnificence and
greatness of this royal mansion. It is said that only one mirror-hall
survived the great fire of 1827, but that too was scattered owing to the
want of historical interest in these days. It is only latterly that
Government have been taking great interest in the preservation of
objects of historical and archaeological interest, and thanks to H. E.
Sir George Lloyd, whose genuine interest and wonderful energy have
enabled us to see the old foundations and remains of the Peshwa's
Palace, which were buried under heaps of debris for nearly a century.
The main building of the Palace consisted of six storeys and it is said
that the spire of the Alandi temple could be seen from the uppermost
terrace of this building. Sawai Madhavrao Peshwa used to enjoy a
beautiful view of the Parvati temple and of the city from the terrace of
his Meghadambari room, and often spend evening hours looking at the
stars in the sky through a telescope which was presented to him by Sir
Charles Malet, the British Resident at his Court.
The
height of the main building can be imagined by the height of the
existing Nagarkhana (music gallery) from the of which the royal standard
of the Peshwas waved proudly day and night. The main entrance to the
Palace is known as Delhi Gate as it faces Delhi in the north. Raja Shahu
of Satara told Bajirao I, not to put the main entrance to the north as
it would mean a disrespect to the Mogul Emperor of Delhi, whom Raja
Shahu held in great respect and to whom he acknowledged his allegiance.
In deference to the wishes of his master the Peshwa stopped the work ;
and the present massive gate which still indicates the former greatness
of this Palace was the work of Bajirao's son, Balaji, who completed it
in 1751 after Raja Shahu's death. It may be worthy of note here that the
design of the entrance gate is exactly a copy of that of Indraprastha,
the ancient Hindu capital of the Pandawas, in old Delhi. The Peshwas,
being devoted Hindus, selected the design of the gate of Indraprastha,
or Purana Killa, instead of imitating the magnificent gates of the Mogul
capital.
As mentioned above, the Palace had five principal gates and they were named as follows :—
1. Delhi Darwaja—as it faces the north.
2. Ganesh Darwaja—as it was near the famous Ganpati Mahal.
3. Mastani Darwaja—which is mentioned in old records as Natakshala gate, was
named after Mastani, the beautiful mistress of Bajirao I, who was brought from
Raja
Chhatrasal of Bundelkhand. Nana Phadnawis afterwards called it ' Ali
Bahadur Darwaja ' after the grandson of Mastani, who conquered
Bundelkhand
and founded the Banda State.
4.
Khidki Darwaja—which was always closed and the entrance was open
through a small window. This Darwaja is now known as ' Kavathi ' on
account of a Kavat tree grown near it.
5. Jambul Darwaja—owing to a tree of Jambul.
Of
the four fortified walls two measured 200 yards in length and 20 feet
in height, two 150 yards of the same height. They contained in all nine
bastions built of stone below and brick above,of which four are at the
corners and five in the
middle of the rampart.
The palace contained four large courts or chouks and several halls or state rooms
known as Diwankhana'
1. Ganpati rang Mahal- Hall of audiences
2.Nachacha Diwankhana- Dancing hall
3. Arse Mahal—Hall of mirrors.
4. Juna Arse Mahal—Old Hall of mirrors.
5. Dadasahebancha Diwankhana—Hall of Raghunathrao Peshwa.
6. Thorlya Rayacha Diwankhana—Hall of the first Peshwa.
7. Narayan Ravacha Mahal—Hall of Narayanrao Peshwa.
8. Hastidanti Mahal—Ivory hall.
Besides
these, there were many other rooms and apartments assigned to dijierent
members of the royal family and to several departments of the household
such as Treasury, Store room, Record room, Library, Jewellery room,
Armoury room, Medicine room, etc., etc. The vast household was well
regulated and controlled, separate officers being appointed for the
supervision and management of the Palace. There were regular guards and
patrols placed inside and outside of the Palace.
As the records show, the staff at the Palace or Shaniwar Wada, in 1779 contained the following :
—
480 Royal Guards,
229 Purandar Guards,
325 Kanadi Infantry,
34 Attendants of Royal Stables,
82 Royal Cavalry-men,
224 Infantry men,
76 Attendants,
1,690 Shiledars and bargirs
Thus making up a total of 3,144.
In
addition to this there were 300 regular sowars or horse soldiers in
attendance night and day. This number afterwords rose to 500. Such was
the strength of the Royal household of the Peshwas. As regards the
construction and style of the Diwankhanas or halls of this Palace, it
may be said that they were generally of one pattern—" Kalamdani" meaning
an oblong old inkstand fashion, one central hall with flat ceiling and
small compartments with sloping ceiling on four sides. The ornamentation
was generally of one pattern. The pillars supporting the main hall were
beautifully carved out and shaped like cypress trees, and joined
together on the top by engraved arches of exquisite workmanship. The
ceilings were covered with beautiful wooden tracery in different designs
and were painted with trees, creepers, flowers, scenes from the great
epics, the Mahabharat and the Ramayan. Bhojraj, a very skilful artist
from Jaypur, was specially engaged for the work of painting these halls.
The
main Diwankhana or the Durbar hall in this Palace was the Ganpati
Ranga-mahal. It was designed and built by Balaji Bajirao, the third
Peshwa, for celebrating Ganpati Festival, in 1755. This historic hall
was the scene of many political and social events and the famous picture
of the Poona Durbar represents the remarkable assembly held here in
1791.
Captain
Moor who visited Poona when the Peshwa's power was at its height
describes the splendour of this hall in the following words :
—
"
He (the Peshwa) has a very magnificent room in his palace at Poona,
called the Ganes room, in which, on particular festivals in honour of
Ganes, he receives numerous visitors ; I have seen more than a hundred
dancing girls in it at one time. At one end, in a recess, is a fine gilt
figure, I believe in marble, of this deity, and many other mythological
decorations around it ; the other end of the room, bounded by a narrow
strip of water in which fountains play, is open to a garden of fragrant
flowers, which, combined with the murmuring of the fountains, has a very
pleasing efiect. This room is well designed in Mr. Daniel's fine
picture of the Poona Durbar unrivalled perhaps in oriental grouping,
character, and costume. This picture was painted for Sir Charles Malet,
from sketches by the Mr. Wales ; and the artist has chosen the time when
Sir Charles, then our Ambassador at the Court, of Poona, attended by
his suite, delivered to His Highness the Peshwa, in full Durbar, the
treaty of alliance, ratified by his Majesty, between Great Britain and
His Highness ; made, preparatory to the war between the triple allied
powers and Tippoo, in 1790."
Ganpati Procession
Robert
Mabon, a European artist, who helped Mr. Wales in preparing the
sketches of the Poona Durbar and visited the Ganpati Mahal in his
company about this period (1790-1795) has given a most graphic
description of the Poona Durbar. " During my stay at Poona," writes Mr.
Mabon,
"
I had the pleasure of being introduced to the durbar, or court of the
Mahrattas. After waiting there some time, in conference with several
Brahmins, attendants of the Peshwa, he made his appearance. I made a
salam to him, which he gracefully returned, and advanced to the musnud
or throne ; on which he sat down, cross-legged, with attendants behind
him, armed with swords ; one of whom was his chowree-bardar, with a
large chowree, or whisk, in his hand to keep off the flies. In front of
the Peshwa stood his chopdar, with a long silver stick, ready to
receive any orders he might be pleased to favour him with." I sat down
at a distance in the attitude in which the Peshawa was, viz :
cross-legged, as nothing is considered by him a greater piece of
impoliteness than extending your legs, or sitting in any manner in which
the soles of your feet might be pointed towards him. He was of a fair
complexion and appeared to be about twenty-three years of age ; his
dress consisted of a long jama, or gown, of very fine muslin; a string
of very large pearls hung from his neck, a considerable way down his
waist ; a very fine red shawl, with a rich embroidered border, was
thrown carelessly over his shoulders, wore a beautiful cluster of
diamonds, the centre one of which was about an inch square, of a very
fine water. On the top of his turban, he wore a small curvature of gold,
about three inches high, richly set with emeralds and various precious
stones ; over the right temple, from the top of the turban, hung several
strings of pearls, which terminated at bottom by small red tassels. In
this group, on the left, I was introduced to Nana Furanvese, his then
Prime Minister, and formerly regent during the time the Peshwa was under
age. It is to this sagacious politician, that almost all ascribe the
present flourishing state of the Mahratta empire. His dress was much the
same with that of the Peshwa, but not so splendid.” " The musnud, or
throne, is raised from the ground about four inches, and consists simply
of three pillows covered with dark green velvet, placed upon rich
embroidered cloth, in the manner represented in the annexed sketch.
Before the Peshwa, upon this cloth is placed his cuttar (Katyar) or
dagger, beautifully enamelled with various devices : next to it, a small
urn and plate, made of copper, enamelled, and his goolab-danee for
sprinkling rose-water, richly set with diamonds; close to them, his
betelnut-box, which is truly splendid, it is set so full of diamonds,
that at a little distance, it appears entirely composed of them : next
to it is placed a silver cup, for his saliva, on a towel ; and last of
all, his sword and shield ; the handle of the sword is green enamelled,
full of diamonds ; the scabbard is covered with red scarlet ; the shield
differs in no respect from the common Mahratta one, otherwise than that
the five studs upon it, are gold ; which, in that of a erson of
inferior rank, would be plated, or perhaps plain brass. •' .... The room
in which the Peshwa thus sits in state, has nothing of beauty or
elegance to recommend it : on one side, is a row of wooden pillars, over
which are hung purdahs, made of kincobs, or gilt flowered silk, which
are so constructed as to bind up or let down as occasion may require.
Opposite to these pillars, are a few windows made in the eastern mode,
very narrow and
long.
The Durbar is a very extensive building built in a style peculiar to
the Asiaticks in general. " In surveying the Peshwa seated on the
musnud, the eye is dazzled with the immense riches about him ; but his
effeminate dress and unmanlylike attitude which the customs of the
people make him under the necessi y of observing, takes away from that
dignity in appearance, which an European might expect to see in a Prince
seated on a throne. After remaining sometime with the Peshwa, betelnut
was presented me, which according to their custom, is the signal to
depart. I accordingly, after accepting of it, took my leave."
The Ganpati Ranga-mahal may be styled as the 'Diwan-i-am ' of the Marathas, as it had seen many
vicissitudes
of fortune and witnessed many important events of great consequence.
Here the great festival in honour of Ganpati was celebrated with eclat
every year in the bright half of Bhadrapad which lasted for ten days.
Here the Dasara Durbar was held annually on a very grand scale when all
the sardars and military officers assembled to pay their homage to the
Peshwa. The great Peshwa, Balaji Bajirao, celebrated his glorious
victories in the north and south of India in this very building. His son
Madhavrao I tried to regain the lost glories of the Marathas in the
battle of Panipat by his judicious and wise rule in this Palace. His
brother and successor Narayanrao was cruelly murdered in a corner room
of
the main building. His posthumous son, Sawai Madhavrao, resided here
nearly for twenty memorable years, while the administration was carried
on under the sole guidance of the famous
minister Nana Phadnawis. His brilliant courts in the Ganpati Rang-mahal were thronged not only
by sardars and chiefs from different parts of the Maratha Empire, but by representatives and
envoys of European Nations and other Indian States. The marriage of the Peshwa was celebrated
here
with great pomp in 1782 and the Nizam of Hyderabad, the Raja of
Nagpur,the Raja of Satara and other Chiefs and Sardars from all parts of
India attended the grand ceremony. The state entry of Sawai Madhavrao
in Poona after the victory over the Nizam at Kharda in 1795 was the
last exhibition of Maratha glory and power, which passed away with the
death of the young Peshwa by an accidental fall from the first story of
the Ganpati Mahal on a fountain in the same year. It may be interesting
to note that all the ambassadors and representatives of the foreign
powers were received and political business was transacted with them in
this very Durbar hall. It is stated in old records that two members of
the Bombay Council, Thomas Byfeld and John Spencer, were received here
by Balaji Bajirao in 1756 and given dresses of honour worth Rs. 1,224.
Here Mr. Mostyn, Col. Upton, and many other English gentlemen were
received with honour and were presented with rich dresses and ornaments.
It is said that Mr. Mostyn was charmed with the fragrance of the
Peshwa's rose-water and expressed a desire to have a bottle or two for
his use, but to his surprise next day, orders were issued to supply him
half a pound of best rose water every day as long as he remained in
Poona. The French representatives, M. Bussy and St. Lubin, were given
audience in the same hall and received costly presents from the Peshwa.
Since the establishment of the British Residency in Poona in 1786Sir
Charles Malet and his suite were the constant visitors to the Durbar.
They cultivated great friendship with the Marathas and kept up cordial
relations with them.
This
hall as well as others were surrounded by beautiful rows of fountains
that used to play here on festive occasions. It may be noted that in
India it was the custom from ancient times to erect fountains and
gardens in Royal Palaces for the sake of pleasure, art, and beauty, and
the Mogul Palaces at Lahore, Delhi, and Agra are specially famous for
their magnificent gardens and ornamental fountains. The Moguls and
Hindus like other Eastern nations were interested in art, and enjoyed
beauty not for selfish purpose, but for religious and traditional ideas
which they cherished most. The Peshwas too following the example of the
Mogul princes adorned their palaces with beautiful gardens and water
fountains, terraces, and pavilions. There are yet some traces of
original fountains which confirm our belief that they were imitated from
Mogul palaces in Northern India. Besides a number of fountains and
gardens for ornamental purposes, the Poona Palace had some special
fountains constructed most artistically
and ingeniously for the pleasure and joy of the Peshwa, Sawai Madhavrao. There was one celebrated
fountain
known as " Hazari Karanje” or thousand sprayed fountain, in the western
side of the main Palace which was an object of curiosity and wonder to
the whole court. It had the shape of a lotus flower of sixteen
petals—each petal having sixteen spouts with a circumference of 80
feet. It is said that in India there is not a single fountain like this
anywhere having 196 jets, not even in Europe, excepting the celebrated
fountain 'Fontana di Trevi ' at Rome. The water of this great fountain
played in hundred patterns while the sun for its amusement would make and break a thousand
rainbows. Like the Diana's Fountain at Versailles it was a favourite rendezvous of the Poona Durbar
and
the young Peshwa Sawai Madhavrao was an enthusiastic lover of this
wonderful sight. In the western side near the Ganapati Hall, there was
another deep tank or well, built after the Mogul pattern, to exhibit
shining waterfalls. The stone-chutes were so ingeniously cut that the
water running over them was thrown down forcibly and broken into ripples
and splashes. They were called "Chadars" meaning white shawls of water.
Behind these transparent waterfalls a skilful arrangement was made to
place coloured lights in the niches which gave a charmingly brilliant
effect at night. The young Peshwa was very fond of these shows and used
to invite his Royal guests to enjoy the delightful scene. It is on
record that he had invited one of the Patwardan Sardars to see this
marvellous water "Chadar" in 1780.
In
this Palace the state rooms or Durbar halls were lofty and well
arranged, and contained very rich articles of furniture and tapestry.
The department of jewelery and library contained choicest and rarest
things. The picture gallery possessed most valuable masterpieces of the
old Mogul and Persian arts, and also finest specimens of old masters in
Europe, mostly presents from foreign Nations such as the English, the
French, and the Portuguese. The armoury was full of rare and curious
arms, and the collection of arts and curios was placed in the Museum
Hall known as Jinnas Khana. It contained chiefly foreign articles of art
and mechanism including watches, clocks, globes, music boxes, and toys.
According to oriental fashion these halls were tastefully arranged and
decorated with wall paintings and were the objects of great admiration
to those who had the good fortune to visit them. This brief account will
hardly give a real idea of the pomp and glory of this historic
building which it once possessed in the zenith of the Peshwa's power.
Among Marathi records there are no descriptions preserved of this
Palace, but fortunately they have been recorded by a few European
gentlemen who visited the Poona Durbar on diplomatic mission or with an
object of curiosity. Their accounts place vividly before our eyes a
graphic picture of the old scenes of the Palace, and it is hoped that
the following extracts will be found highly interesting.
The
first among the visitors was Major Price who visited Poona in 1791. He
commanded a grenadier ompany in Captain Little's battalion and with it
joined the Maratha army under the Brahmin General, Parashuram Bhow. He
was present in the battle of Dharwar against Tipu Sultan in 1791, where
he was severely wounded. On the surrender of Dharwar he proceeded to
Poona where he remained attached to the military guard, or honorary
escort, of Sir Charles Malet, first British Resident at the Peshwa's
Court, until the Peace of Seringapatam. He visited the Peshwa's Palace
on several occasions in company with Sir Charles Malet. He describes his
visit on the 7th April 1791 in the following terms:
Sawai Madhavarao Peshawa
—
"
The Resident, attended by the whole of his suite, European and
native,and preceded by the escort of sepoys—about 80 in number —crossed
the ford of the Moota; and proceeding through the middle of the crowded
city, we came to the entrance of the Palace, which looks to the east*.
This leading through a lofty gateway we passed to the left, along a very
ordinary colonnade, which appeared, indeed, as yet in an unfinished
state ; and at the termination of this, a sharp turn to the right,
brought us at once into the Dewankhanah or hall of audience. This was
spacious and lofty, but perfectly simple, and without ornament, unless
we except the usual carving in the woodwork. The side towards the
area—which
as
far as I recollect was to the north—was entirely open, the roof being
sustained by wooden pillars ; and the floor was covered, from end to
end, with a spotless piece of white calico. The young Prince was seated
on his regal cushion—or gaddy, his Minister, the veteran and intelligent
Nana Furnoveis. on his right hand, and other functionaries, and
military chiefs, forming a semi-circle at the head, and one side, of the
saloon. "As we were, in conformity with prior arrangements, all in
satin shoes and silk stockings,
we
advanced without interruption, being, of course, announced by numerous
choubdaurs, or silver sticks, towards the Prince, who stood up to
receive us ; and having treated each of us, without exception, with the
buggulguiry, or accolade—which was also done by the Minister—we all of
us then seated ourselves, as best we could, upon our hams—as much as
possible concealing the soles of our shoes, which it would have been
considered the extreme of indecorum to discover. ' The Resident,
communicated with the Peshwa, through the Minister, in a manner which
appeared most cordial and unreserved. And I cannot forget the splendid
display of jewels which decorated the person of the
young
Prince ; but more particularly a superb necklace, descending far down
the breast, and consisting of alternate diamonds and emeralds each fully
as large as a nut-meg ; which must have been of inestimable value."
Another
distinguished visitor Lord Valentia, who paid a visit to Poona in
1803, has left an interesting account of it in his travels. About the
Palace he writes :
A Maratha soldier with his horse
—
"
On entering the Palace, we found His Highness's cavalry and guard of
infantry drawn out, with his elephants and suwarry ; they were by no
means splendid. As we passed under the Nobit Khanah the kettle-drums
beat. Within the walls the servants were all at their posts, and the
crowd considerable. In the windows were numbers of the higher orders. We
quitted our palanquins at the foot of the stairs, which we mounted,
attended only by our Chobdars and Ausubadars. A small anti-room led to
the durbar. At the door, I waited a few seconds, till I saw that the
Dewan of the State, Sadaseeo Maunkesor, was sufficiently near ; when,
having quitted my slippers, I stepped on the white cloth with which the
whole room was covered, Colonel Close supporting my left arm. I embraced
the Dewan, and presented the fficers of my suite. At this moment the
Peshwa entered the room, and stepped on his guddi or throne.” " The
Palace is a tolerable handsome building, and was very clean. The Durbar
room is large ; it is supported by wooden pillars handsomely carved. His
guddi was of white muslin, richly embroidered in gold and coloured
silk. His attendants stood round without the pillars, except a few with
silver sticks. Holkar did not much injure the Palace, but he carried
away every thing moveable ; a small armoury and the elephant haudahs did
not escape."
Sir
James Mackintosh, Recorder of the Bombay Court, paid a visit to the
Peshwa in 1805. He describes the Palace in his journal as follows :
Raghunathrao Peshawa
—
"
We went about half a mile, or somewhat less, through the city, of which
the principal streets are paved with flags, and which is reckoned one
of the best-built native towns in India. The word Bhara (ivada?) which
is the term for the Peshwa's house, ought not to be translated palace,
because it is applied also to the houses of the other Mahratta Chiefs at
Poona. From its size, it might well deserve the name ; the front is
about the length of Somerset-house towards the Strand. We entered
through a gate into a large square formed by the Bhara. The walls all
around were painted with scenes of Hindu mythology. At one of the
corners of this rather handsome square, we had a staircase to climb,
which formed a singular contrast to the exterior of the building ; it
was steeper than that which goes to the terrace at Parell, and not half
so broad. At the top of this staircase was the entry of the hall of
audience, where I left the splendidly embroidered slippers with which
Colonel Close had furnished me. The hall was a long gallery, about the
length perhaps of the verandah at Parell, but somewhat wider, supported
by two rows of handsome wooden pillars, either of oak or of some timber
exactly resembling it. (The width of which I speak is between the
pillars.) Behind the pillars, on each side was a recess about half the
breadth of the middle part. This apartment was carpeted, and near the
end at which we entered was a white cloth laid, with three pillows :
this was the Musnud, or throne."
From
the above description it appears that Bajirao did not receive his
illustrious guest in the Ganpati Mahal but in another hall, which is
difficult to distinguish from others at this distance of time. The
fourth English gentleman to describe the Palace was Lt.-Col.
Fitzclarence who visited Poona on the 31st January 1818, shortly after
the battle of|Kirkee, when the Peshwa Bajirao had already left Poona and
the Palace was occupied by the British and turned into a military
hospital. He
writes :
—
'
The old Palace is surrounded with a wall and circular bastions, having
an open space in its front. The walls of an inner court are miserably
daubed with the Hindoo mythology, elephants, and horsemen. His Highness
made but little use of this abode except on public occasions, though it
contained the temple or
room
for the yearly fete in honour of his protecting deity Gunish. " I found
Mr. Coates in a deep verandah in one of the small courts, crowded with
trees and shrubs, and he was so good as to shew us round the Palace.
The great quadrangle is more handsome than that at Nagpoor, has
sculptured wood pillars and cornices, which are very splendid, and the
whole Palace is glazed throughout. A very fine room, with dark coloured
wooden pillars, and carpeted with red cloth stuffed with cotton,
displayed a full length picture of the Marquis Wellesely, which had been
found neglected in a small adjacent apartment ; and near the likeness
of this great statesman was a miniature of Sir Barry Close, also found
in the palace, let into the wall in the plaster. There were also two
very large well-fashioned globes, with the names in the Latin language,
and also the . . .of silver. These, it was supposed, had been a present
from the King of England to a former Peshwa, previous to the year 1788.
From the top of the Palace I had a most extensive view of the city,
camp, mango groves, the ruins of the Sunguni, and holy hill of Parbutty,
to the south-east of the city. Poona, not having any suburb like
Nagpoor, is inferior in population, and covers less ground. We now
proceeded to the holy chamber, dedicated to a deity who could boast of
an elephant's head and trunk, and who, to complete the interest he
excited, was painted blue. He was sitting cross-legged, but we did not
find this sapient gentleman ready to receive us, for after rummaging
about, he was discovered put by in a cupboard, to keep him from the dirt
and flies. The room is vaulted, and about fifty feet along, and very
high, with a gallery which runs round it, like our music galleries in
ball-rooms. It is one mass of mirrors, intermixed with green foil,
inlaid with gilt wooden partitions and numbers of English cut-glass
chandeliers. The decorations were covered, to save them as well as their
master. To the fete in the honour of this tutelary divinity, the
Resident was always invited, and the Peshwa did not himself do the
honours, as he was also a visitor to his long-nosed patron. I saw here
an English clock which was found going well, in the palace ; several
large English books ,fine engravings, and the remains of a very large
orrery nearly destroyed. There was, besides, a native map, but I imagine
Goklah must have a better one, to have so long escaped our pursuing
army."
This was perhaps the last description of the Palace that had been written while the building existed intact, for, in June 1818, the Peshwa abdicated his Gadi or throne to Sir John Malcolm and went to reside at Bithur near Cawnpur as a political prisoner of the British Government. Exactly ten years after this event the whole Palace was completely burnt down by a great fire on the 27th February 1827, which lasted for seven days, and except the heavy rampart, strong
gateways
and buried foundations and ruins that still bear witness to the rise
and fall of a mighty Empire, nothing of this majestic and magnificent
building has been saved from the cruel hand of Time. It is only the
Nagarkhana or music gallery on the top of the Delhi gate which once sang
loudly the glories of the great Peshwas, now seen mourning in silence.
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Great information.
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