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This is the old Log Cabin Association Consolidated School, located atop a knoll overlooking US 74-441 at the community of Barker’s Creek, near Dillsboro, North Carolina. The building was one of three elementary schools constructed between 1949 and 1952, which consolidated the last remaining rural wood-frame one-room and two-room schools in the county, with the other two schools, with similar designs, being located at the communities Addie (Scott’s Creek Township) and Argura/Sols Creek (Canada Township). The Log Cabin School was the first to be built, with construction starting in 1949 due to the condemnation of the old Barker’s Creek School in 1947, due to how dilapidated it had become. The Log Cabin School opened in 1950, and Consolidated the schools at Dicks Creek (now Dicks Creek Baptist Church), Wilmot, and Barker’s Creek into a single, modern facility with a gymatorium, library, cafeteria, bathrooms, central heating, and separated classroom spaces, none of which were amenities that existed in the schools it replaced. The modernist building features several long window bays that provide ample light to the interior spaces, with the classrooms having glass block to provide diffuse sunlight, and the building heavily using steel-frame awning windows for ventilation. The school also features some interesting detailing, including curved brick faces at the front entrance, pilaster-like facade elements, and a vertical element of bricks turned at an angle that breaks up the center of the massing of the large brick face of the gym’s facade. The school operated from 1950 until 1980, when, prompted by a drop in enrollment, it was Consolidated with nearby Qualla Elementary School to form Smokey Mountain Elementary School. The school sat vacant, with sporadic activity until 1995, when the deteriorated structure was renovated and converted into an antique mall. However, the building was put up for sale about 13 years ago, and has since sat vacant and fallen into serious disrepair, with a failed roof and vandalism taking their toll. It needs serious renovation to be used, but thankfully, it is a well-built structure that is still sound.
The school remains on the market, though pictures in the listing are inaccurate as to its current state, which has severely deteriorated from the pristine building it was in 2006, when the antique mall closed. The building needs a new roof, replacement window glass, a thorough cleaning, paint job, new ceilings and floors, and new doors if it is reused. Electrical systems in the building were stolen by scrappers, and need to be completely replaced. Some plumbing fixtures remain, but they have been subject to severe vandalism over the decade the building has sat empty. As for the HVAC system, the building did at one time have a boiler, installed in 1950, and an air conditioning system that was installed circa 1995, but both of these systems are likely non-functional due to water damage and vandalism, and will need to be replaced. The wooden interior structures in the gym also need to be torn out, along with all electrical fixtures. All of this will need to be done if the building is to be used again, but it does have the upside of being a solid concrete, brick, steel, and concrete masonry structure that has taken the elements on remarkably well, and can still be salvaged with the right resources and care put into it. The building is by no means unstable or in a state of collapse, as it was built very solidly, and could make a great adaptive reuse opportunity for the right person or organization. I hope to see this building saved and reused, as it is one of only a few mostly intact modernist school buildings from the late 1940s/early 1950s left in this part of the state.
I am indebted to John Fielding (www.flickr.com/photos/john_fielding/) for posting an aerial shot of Holy Trinity, and my interest was piqued by the timber-framed building with the triple gable at the east end. Turned out this was the Lady Chapel, and more of that later. So, on my way back home to Kent, I called in to see if it looked as remarkable in the flesh as in photographs.
I arrived at Long Melford, after being taken on a magical mystery tour in light drizzle from Wortham, down narrow and narrower lanes, under and over railway lines, through woods, up and down hills until, at last, I saw the town laid out beyond the church.
I parked at the bottom of Church Walk then walked up past the line of timber framed houses, the tudor hospital and the tudor manor house.
Holy Trinity sits on top of the hill, spread out, filling its large churchyard and the large tower not out of proportion.
Inside it really is a collection of wonders, from brasses, the best collection of Medieval glass in Suffolk, to side chapels, and behind, the very unusual Lady Chapel.
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The Church of the Holy Trinity, Long Melford is a Grade I listed parish church of the Church of England in Long Melford, Suffolk, England. It is one of 310 medieval English churches dedicated to the Holy Trinity.
The church was constructed between 1467 and 1497 in the late Perpendicular Gothic style. It is a noted example of a Suffolk medieval wool church, founded and financed by wealthy wool merchants in the medieval period as impressive visual statements of their prosperity.
The church structure is highly regarded by many observers. Its cathedral-like proportions and distinctive style, along with its many original features that survived the religious upheavals of the 16th and 17th centuries, have attracted critical acclaim. Journalist and author Sir Simon Jenkins, Chairman of the National Trust, included the church in his 1999 book “England’s Thousand Best Churches”. He awarded it a maximum of 5 stars, one of only 18 to be so rated. The Holy Trinity Church features in many episodes of Michael Wood's, BBC television history series Great British Story, filmed during 2011.
A church is recorded as having been on the site since the reign of King Edward the Confessor (1042–1066). It was originally endowed by the Saxon Earl Alric, who bequeathed the patronage of the church, along with his manor at Melford Hall and about 261 acres of land, to the successive Abbots of the Benedictine Abbey of Bury St Edmund’s. There are no surviving descriptions of the original Saxon structure, although the roll of the clergy (see below) and the history of the site extend back to the 12th century.
The church was substantially rebuilt between 1467 and 1497. Of the earlier structures, only the former Lady Chapel (now the Clopton Chantry Chapel) and the nave arcades survive.
The principal benefactor who financed the reconstruction was wealthy local wool merchant John Clopton, who resided at neighbouring Kentwell Hall. John Clopton was a supporter of the Lancastrian cause during the Wars of the Roses and in 1462 was imprisoned in the Tower of London with John de Vere, 12th Earl of Oxford and a number of others, charged with corresponding treasonably with Margaret of Anjou. All of those imprisoned were eventually executed except John Clopton, who somehow made his peace with his accusers and lived to see the Lancastrians eventually triumphant at the Battle of Bosworth in 1485.
The dates of the reconstruction of the church are derived from contemporary wills, which provided endowments to finance the work
In 1710 the main tower was damaged by a lightning strike.[3] It was replaced with a brick-built structure in the 18th century and subsequently remodelled between 1898 and 1903 to its present-day appearance, designed by George Frederick Bodley in the Victorian Gothic Revival style. The new tower was closer to its original form with stone and flint facing and the addition of four new pinnacles.
The nave, at 152.6 feet (46.5 m), is believed to be the longest of any parish church in England. There are nine bays, of which the first five at the western end are believed to date from an earlier structure.
The interior is lit by 74 tracery windows, many of which retain original medieval glass. These include the image of Elizabeth de Mowbray, Duchess of Norfolk, said to have provided the inspiration for John Tenniel's illustration of the Queen of Hearts in Lewis Carroll's Alice's Adventures in Wonderland.
The sanctuary is dominated by the large reredos, of Caen stone and inspired by the works of Albrecht Dürer. It was installed in 1877, having been donated by the mother of the then Rector Charles Martyn.
On the north side is the alabaster and marble tomb of Sir William Cordell who was the first Patron of the Church after the dissolution of the Abbey of Bury St Edmund's in 1539. On either side of the tomb are niches containing figures that represent the four Cardinal virtues of Prudence, Justice, Temperance and Fortitude.
The sanctuary also holds one of the earliest extant alabaster bas relief panels, a nativity from the second half of the 14th century. The panel was hidden under the floor of chancel, probably early in the reign of Elizabeth I, and was rediscovered in the 18th century.[6] The panel, which may be part of an altar piece destroyed during the Reformation, includes a midwife arranging Mary's pillows and two cows looking from under her bed.
The Clopton Chapel is in the north east corner of the church. It commemorates various Clopton family members and was used by the family as a place of private worship.
The tomb of Sir William Clopton is set into an alcove here, in the north wall. An effigy of Sir William, wearing chain mail and plate armour, is set on top of the tomb. Sir William is known to have died in 1446 and it is therefore believed that this corner of the church predates the late 15th-century reconstruction. There are numerous brasses set in the floor commemorating other members of the Clopton family; two date from 1420, another shows two women wearing head attire in the butterfly style from around 1480, and a third depicts Francis Clopton who died in 1558.
There is an altar set against the east wall of the chapel and a double squint designed to provide priests with a view of the high altar when conducting Masses.
The Clopton Chantry Chapel is a small chapel at the far north east corner of the church, accessed from the Clopton Chapel. This was the original Lady Chapel and is the oldest part of the current structure. After John Clopton's death in 1497, his will made provision for the chapel to be extended and refurbished and for him to be buried alongside his wife there.[10] The chapel was then renamed, while the intended Chantry Chapel became the Lady Chapel.
The tomb of John Clopton and his wife is set in the wall leading into the chapel. Inside, the canopy vault displays faded portraits of the couple. Also displayed is a portrait of the risen Christ with a Latin text which, translated, reads Everyone who lives and believes in me shall never die. A series of empty niches in the south wall most likely once held statues of saints. Around the cornice, John Lydgate's poem "Testament" is presented in the form of a scroll along the roof, while his "Lamentation of our Lady Maria" is along the west wall.
The Lady Chapel is a separate building attached to the east end of the main church. In an unusual layout, it has a central sanctuary surrounded by a pillared ambulatory, reflecting its original intended use as a chantry chapel with John Clopton's tomb in its centre. Clopton was forced to abandon this plan when his wife died before the new building was completed and consecrated; so she was buried in the former Lady Chapel and John Clopton was subsequently interred next to her.[12]
The stone carving seen in the Lady Chapel bears similarities to work at King's College Chapel, Cambridge and at Burwell Church in Cambridgeshire. It is known that the master mason employed there was Reginald Ely, the King's Mason, and although there is no documentary proof, it is believed that Ely was also responsible for the work at Holy Trinity, Long Melford.[13]
The chapel was used as a school from 1670 until the early 18th century, and a multiplication table on the east wall serves as a reminder of this use. The steep gables of the roof also date from this period.
The Martyn Chapel is situated to the south of the chancel. It contains the tombs of several members of the Martyn family, who were prominent local wool merchants in the 15th and 16th centuries, and who also acted as benefactors of the church. These include the tomb chest of Lawrence Martyn (died 1460) and his two wives. On the floor are the tomb slabs of Roger Martyn (died 1615) and his two wives Ursula and Margaret; and of Richard Martyn (died 1624) and his three wives.
Originally, the Martyn chapel contained an altar flanked by two gilded tabernacles, one displaying an image of Christ and the other an image of Our Lady of Pity. These tabernacles reached to the ceiling of the chapel, but were removed or destroyed during the English Reformation in the reign of King Edward VI.
en.wikipedia.org/wiki/Holy_Trinity_Church,_Long_Melford
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The setting of Holy Trinity is superlative. At the highest point and square onto the vast village green, its southern elevation is punctuated by the 16th Century Trinity Hospital almshouses. Across the green is the prospect of Melford Hall's pepperpot turrets and chimneys behind a long Tudor wall. Another great house, Kentwell Hall, is to the north. Kentwell was home to the Clopton family, whose name you meet again and again inside the church. Norman Scarfe described it as in a way, a vast memorial chapel to the family.
Holy Trinity is the longest church in Suffolk, longer even than Mildenhall, but this is because of a feature unique in the county, a large lady chapel separate from the rest of the church beyond the east end of the chancel. The chapel itself is bigger than many East Anglian churches, although it appears externally rather domestic with its triple gable at the east end. There is a good collection of medieval glass in the otherwise clear windows, as well as a couple of modern pieces, and a very mdern altarpiece at the central altar. Jacqueline's mother remembered attending Sunday School in this chapel in the 1940s.
The intimacy of the Lady Chapel is in great contrast to the vast walls of glass which stretch away westwards, the huge perpendicular windows of the nave aisles and clerestories, which appear to make the castellated nave roof float in air. An inscription in the clerestory records the date at which the building was completed as 1496. Forty years later, it would all have been much more serious. Sixty years later, it would not have been built at all. A brick tower was added in the early 18th Century, and the present tower, by GF Bodley, was encased around it in 1903. As Sam Mortlock observes, this tower might seem out of place in Suffolk, but it nevertheless matches the scale and character of the building. It is hard to imagine the church without it.
I came here back in May with my friend David Striker, who, despite living thousands of miles away in Colorado, has nearly completed his ambition to visit every medieval church in Norfolk and Suffolk. This was his first visit to Long Melford, mine only the latest of many. We stepped down into the vast, serious space.. There was a fairly considerable 19th Century restoration here, as witnessed by the vast sprawl of Minton tiles on the floor, although perhaps the sanctuary furnishings are the building's great weakness. Perhaps it is the knowledge of this that fails to turn my head eastwards, but instead draws me across to the north aisle for the best collection of medieval glass in Suffolk. During the 19th century restoration it was collected into the east window and north and south aisles, but in the 1960s it was all recollected here. Even on a sunny day it is a perfect setting for exploring it.
The most striking figures are probably those of the medieval donors, who originally would have been set prayerfully at the base of windows of devotional subjects. Famously, the portrait of Elizabeth, Duchess of Norfolk is said to have provided the inspiration for John Tenneil's Duchess in his illustrations to Lewis Carroll's Alice in Wonderland, although I'm not sure there is any evidence for this. Indeed, several of the ladies here might have provided similar inspiration.
The best glass is the pieta, Mary holding the body of Christ the Man of Sorrows. Beneath it is perhaps the best-known, the Holy Trinity represented in a roundel as three hares with their ears interlocking. An angel holding a Holy Trinity shield in an upper light recalls the same thing at Salle. Other glass includes a fine resurrection scene and a sequence of 15th Century Saints. There is also a small amount of continental glass collected in later centuries, including a most curious oval lozenge of St Francis receiving the stigmata.
Walking eastwards down the north aisle until the glass runs out, you are rewarded by a remarkable survival, a 14th century alabaster panel of the Adoration of the Magi. It probably formed part of the altar piece here, and was rediscovered hidden under the floorboards in the 18th century. Fragments of similar reliefs survive elsewhere in East Anglia, but none in such perfect condition. Beyond it, you step through into the north chancel chapel where there are a number of Clopton brasses, impressive but not in terribly good condition, and then beyond that into the secretive Clopton chantry. This beautiful little chapel probably dates from the completion of the church in the last decade of the 15th century. Here, chantry priests would have celebrated Masses for the dead of the Clopton family. The chapel is intricately decorated with devotional symbols and vinework, as well as poems attributed to John Lidgate. The beautiful Tudor tracery of the window is filled with elegant clear glass except for another great survival, a lily crucifix. This representation occurs just once more in Suffolk, on the font at Great Glemham. The panel is probably a later addition here from elsewhere in the church, but it is still haunting to think of the Chantry priests kneeling towards the window as they asked for intercessions for the souls of the Clopton dead. It was intended that the prayers of the priests would sustain the Cloptons in perpetuity, but in fact it would last barely half a century before the Reformation outlawed such practices.
You step back into the chancel to be confronted by the imposing stone reredos. Its towering heaviness is out of sympathy with the lightness and simplicity of the Perpendicular windows, and it predates Bodley's restoration. The screen which separates the chancel from the south chapel is medeival, albeit restored, and I was struck by a fierce little dragon, although photographing it into the strong south window sunshine beyond proved impossible. The brasses in the south chapel are good, and in better condition. They are to members of the Martyn family.
The south chapel is also the last resting place of Long Melford's other great family, the Cordells. Sir William Cordell's tomb dominates the space. He died in 1581, and donated the Trinity Hospital outside. His name survives elsewhere in Long Melford: my wife's mother grew up on Cordell Road, part of a council estate cunningly hidden from the High Street by its buildings on the east side.
Simon Knott, January 2013
The Roman Catholic church of St Charles in Gosforth was built in 1911 (replacing an earlier iron-built structure) and is a handsome building with two small west steeples flanking the main facade and a wide cruciform body culminating in a shallow apse. The interior is partially enlivened by marble-cladding, particularly around the sanctuary.
The outstanding features here however are in glass, principally the two large windows that dominate the north and south transepts, the largest windows in the church and both filled with gloriously rich stained glass by Harry Clarke Studios of Dublin and installed in 1945 (long after the death of Clarke himself and most likely designed by his successor Richard King). The south window depicts the Nativity, whilst that to the north represents the Deposition, with Christ's body being removed from the Cross. There is a further window by the same studio in the south nave clerestorey depicting Christ before Pilate, somewhat smaller and sadly less accessible.
This is a thoroughly rewarding church to visit for lovers of stained glass, though it is best to check with the church about access as it isn't always open outside mass times.
NEW YORK CITY - MAY 23, 2024: Aerial view of the Empire State Building and downtown Manhattan at dusk, New York City.
Night scape of railway and light rail beside Shanghai Railway Station, Shanghai, China, Aug 25, 2018
We saw the sun!!
Renowned as being the second largest brick built structure in England, the first being recognised as Battersea Power Station, Chappel Viaduct is situated near Wakes Colne in Essex off the A1124 (Colchester Road) and spans the picturesque Colne Valley. It presently still supports the Sudbury to Marks Tey line which regularly connects with trains to and from London's Liverpool Street Station along the main line.
The foundation stone for this man made wonder was laid on the 14th September 1847. A bottle containing a newly minted sovereign, a half-sovereign, a shilling, a sixpence and a four-penny piece was placed underneath this stone. This bottle and all its contents were stolen shortly after the laying ceremony; the culprit was caught after he tried to pass over a brand new sovereign coin in the Rose and Crown public house.
Chappel Viaduct is 1,066ft long and some 5 to 6 million bricks are believed to have been used in its construction. A work force of 606 men known at the time as 'navvies' were employed to complete the work which took two years, this was relatively fast for such a large structure. The Viaduct has 32 arches; each having a span of 30ft and at its maximum the height is 75ft. Although so many bricks were used in the construction, to save money and to cut down on weight, the piers were left hollow.
The engineer of the viaduct was Peter Schuyler Bruff and his plan was for the line to continue on as far as Ipswich in Suffolk, but the railway company did not have sufficient funds for this. Bruff later built the line himself and is also credited for founding the Essex seaside resort of Clacton-on-Sea.
On the 2nd July 1849, the first passenger train crossed the viaduct from Colchester to Sudbury carrying an official party. A large crowd greeted the honoured guests at Sudbury despite its station still being unfinished.
To this day Chappel Viaduct is in daily use by trains and is well worth a visit if you are in the area. It attracts many tourists and visitors every year and is a highly photographed structure. Bordering the viaduct is The Chappel Millennium Green and as the name suggests this was opened to celebrate the Millennium. It contains a walk around area and children's play area which should keep the kids amused while you take in this wonder.
The Stour Valley Railway opened on 9 August 1865, linking Shelford near Cambridge with Marks Tey in Essex, with 13 intermediate stations along the line.
The section between Shelford and Sudbury was closed on 6 March 1967 following the Beeching cuts, leaving Bures and Chappel & Wakes Colne as the only stops between the termini.
In 2005 the line received around £3 million of investment, which saw around 5 miles (8 km) of old jointed track replaced with new continuous welded rail. Further investment was made in 2006 to replace around 6 miles (10 km) of track, leaving just the Chappel viaduct and Lamarsh to Sudbury sections in need of modernisation. This work was completed in 2007.
In 2006 the line was designated as a community railway[2] by the transport minister and is part of the Essex and South Suffolk Community Rail Partnership.[3]
The current name of the line commemorates the painter Thomas Gainsborough, who was born in Sudbury; the previous name was the Lovejoy line, after the television series Lovejoy, which was filmed in the Sudbury area.
All passenger services on the line are currently operated by Greater Anglia, which runs an hourly service seven days a week, with frequency increasing slightly during peak hours. One train each day is extended to or from Colchester.
Photo of the William Henry Sternberg Mansion in Wichita, KS - circa 1976. This is a large 4-story home not including a full basement (w/ basement @ 8,000 sq. ft.), four decorative, corbelled chimney flues and five woodburning fireplaces, walnut staircase, ornate 4-light gas newel post lamp and original hardware throughout. Additional information can be found at: members.cox.net/wichitahpa/sternberg.html. W.H. Sternberg both designed and built residences and commercial buildings across the country (from about 1850 to about 1905). Other Sternberg designed and/or Sternberg-built structures are known to exist in New York and Missouri. Other states such as Indiana and Connecticut are suspected. The very first house ever built in Wichita was at 9th & Waco Ave. and Sternberg Mansion is at 10th & Waco Ave. - in the heart of historic Wichita. Durfee's Ranch, the first trading post in early Wichita, was located a few hundred feet from here. Jesse Chisholm, for whom the famous Chisholm Trail was named traded at Durfee's Ranch. Wichita grew rapidly in the 1860s & 1870s. When Sternberg Mansion was built in 1886, Waco Avenue was the most exclusive residential district in Wichita and grand palatial homes such as this lined the Avenue. In 1886, Sternberg Mansion cost the handsome sum of $25,000 to build. For fledgling settlers making a "go" of it in early Wichita this was a hefty amount indeed. The rest of these upscale homes on Waco Avenue (among them the Charles Smythe residence and the Finlay Ross residence) are now gone and Sternberg Mansion is the last of these grand old Victorian homes in what was once Wichita's most exclusive residential district. W.H. Sternberg was the area's most prolific builder in the last half of the 1800s and was popular not just for his designs and quality of his work but for his reputation as an honest and civic-minded person. Sternberg in known to have donated building materials and labor for worthy causes such as the poor house and the early Masons movement in Wichita. Indeed due to his pro bono work on the old masonic lodge at 1st and Topeka and giving the Masons a place in which to conduct meetings, Sternberg is credited with being one of three people instrumental in reviving the early mason's movement in Wichita - which today is still strong. Sternberg hired only those of the highest character and skill and supervised a full-time crew of approximately 40 laborers. Sternberg only lived in the mansion for 3 years. When Wichita's economy "hit the skids" in 1889, Sternberg sold to a friend but he remained in the area continuing his design and contracting work until 1905. W.H. Sternberg passed away in 1906 at the age of 74. He is credited with many "firsts" in the industry including the first builder to hire an architect (the renowned Stanford White of New York) for purely aesthetics and design of a residence, and unique features catering to the comfort of Victorian homeowners such as the first-ever laundry chute in a residence. As of 04/08/2009 the house is being restored with the intent of opening it as a historic house museum. Present owner (04/08/2009) is open to assistance from interested parties that may help with renovation to a historic house museum.
UPDATE: As of 03/2010, the Historic Sternberg Mansion was selected as the "Most Endangered Historic Property in Kansas" by the Kansas Preservation Alliance. Your help is needed to save this historic and architectural jewel from demolition . . .
Here is my virtual tour through the city - portfotolio.net/jup3nep/album/72157631887823501
The Topkapı Palace (Turkish: Topkapı Sarayı or in Ottoman Turkish: طوپقپو سرايى) is a large palace in Istanbul, Turkey, that was the primary residence of the Ottoman Sultans for approximately 400 years (1465-1856) of their 624-year reign.
As well as a royal residence, the palace was a setting for state occasions and royal entertainments. It is now a major tourist attraction and contains important holy relics of the Muslim world, including Muhammed's cloak and sword. The Topkapı Palace is among the monuments contained within the "Historic Areas of Istanbul", which became a UNESCO World Heritage Site in 1985, and is described in Criterion iv as "the best example[s] of ensembles of palaces [...] of the Ottoman period."
Construction began in 1459, ordered by Sultan Mehmed II, the conqueror of Byzantine Constantinople. The palace complex consists of four main courtyards and many smaller buildings. At its peak, the palace was home to as many as 4,000 people, and covered a large area with a long shoreline. The complex was expanded over the centuries, with major renovations after the 1509 earthquake and the 1665 fire. The palace contained mosques, a hospital, bakeries, and a mint. The name translates as "Cannon gate Palace" from a nearby gate which has since been destroyed.
From the end of the 17th century the Topkapı Palace gradually lost its importance as the Sultans preferred to spend more time in their new palaces along the Bosporus. In 1856, Sultan Abdül Mecid I decided to move the court to the newly built Dolmabahçe Palace, the first European-style palace in the city. Some functions, such as the imperial treasury, the library, and the mint were retained in the Topkapı Palace.
Following the end of the Ottoman Empire in 1921, the Topkapı Palace was transformed by a government decree dated April 3, 1924 into a museum of the imperial era. The Topkapı Palace Museum is administered by the Ministry of Culture and Tourism. The palace complex has hundreds of rooms and chambers, but only the most important are accessible to the public today. The complex is guarded by officials of the ministry as well as armed guards of the Turkish military. The palace includes many fine examples of Ottoman architecture. It contains large collections of porcelain, robes, weapons, shields, armor, Ottoman miniatures, Islamic calligraphic manuscripts and murals, as well as a display of Ottoman treasures and jewelry.
Chittorgarh Fort (Hindi/Rajasthani: चित्तौड दुर्ग Chittorgarh Durg) is the largest fort in India and the grandest in the state of Rajasthan. It is a World Heritage Site. The fort, plainly known as Chittor, was the capital of Mewar and is today situated several kilometres south of Bhilwara. It was initially ruled by Guhilot and later by Sisodias, the Suryavanshi clans of Chattari Rajputs, from the 7th century, until it was finally abandoned in 1568 after the siege by Emperor Akbar in 1567. It sprawls majestically over a hill 180 m in height spread over an area of 280 ha above the plains of the valley drained by the Berach River. The fort precinct with an evocative history is studded with a series of historical palaces, gates, temples and two prominent commemoration towers. These monumental ruins have inspired the imagination of tourists and writers for centuries.
The fort was sacked three times between the 15th and 16th centuries; in 1303 Allauddin Khilji defeated Rana Ratan Singh, in 1535 Bahadur Shah, the Sultan of Gujarat defeated Bikramjeet Singh and in 1567 Emperor Akbar defeated Maharana Udai Singh II who left the fort and founded Udaipur. Each time the men fought bravely rushing out of the fort walls charging the enemy but lost every time. Following these defeats, Jauhar was committed thrice by more than 13,000 ladies and children of the Rajput heroes who laid their lives in battles at Chittorgarh Fort, first led by Rani Padmini wife of Rana Rattan Singh who was killed in the battle in 1303, and later by Rani Karnavati in 1537 AD.
Thus, the fort represents the quintessence of tribute to the nationalism, courage, medieval chivalry and sacrifice exhibited by the Mewar rulers of Sisodia and their kinsmen and women and children, between the 7th and 16th centuries. The rulers, their soldiers, the women folk of royalty and the commoners considered death as a better option than dishonor in the face of surrender to the foreign invading armies.
GEOGRAPHY
Chittorgarh, located in the southern part of the state of Rajasthan, 233 km from Ajmer, midway between Delhi and Mumbai on the National Highway 8 (India) in the road network of Golden Quadrilateral. Chittorgarh is situated where National Highways No. 76 & 79 intersect.
The fort rises abruptly above the surrounding plains and is spread over an area of 2.8 km2. The highest elevation at the fort is 1,075 m. It is situated on the left bank of the Berach river (a tributary of the Banas River) and is linked to the new town of Chittorgarh (known as the 'Lower Town') developed in the plains after 1568 AD when the fort was deserted in light of introduction of artillery in the 16th century, and therefore the capital was shifted to more secure Udaipur, located on the eastern flank of Aravalli hill range. Mughal Emperor Akbar attacked and sacked this fort which was but one of the 84 forts of Mewar,but the capital was shifted to Aravalli hills where heavy artillery & cavalry were not effective. A winding hill road of more than 1 km length from the new town leads to the west end main gate, called Ram Pol, of the fort. Within the fort, a circular road provides access to all the gates and monuments located within the fort walls.
The fort that once boasted of 84 water bodies has only 22 of them now. These water bodies are fed by natural catchment and rainfall, and have a combined storage of 4 billion litres that could meet the water needs of an army of 50,000. The supply could last for four years. These water bodies are in the form of ponds, wells and step wells.
HISTORY
Chittorgarh Fort is considered to be the largest fort of India in terms of area. It is stated that the fort was constructed by the Mauryans during the 7th century AD and hence derives its name after the Mauryan ruler, Chitrangada Mori, as inscribed on coins of the period. Historical records show Chittorgarh fort as the capital of Mewar for 834 years. It was established in 734 AD by Bappa Rawal, founder ruler in the hierarchy of the Sisodia rulers of Mewar. It is also said that the fort was gifted to Bappa Rawal as part of Solanki princess’s dowry in the 8th century. The fort was looted and destroyed at the hands of Emperor Akbar in 1568 AD and subsequently never resettled but only refurbished in 1905 AD. Three important battles were fought for control of the fort; in 1303, Ala-ud-din Khilji besieged the fort; in 1535, Sultan of Gujarat Bahadur Shah besieged the fort; and in 1568, Mughal Emperor Akbar attacked the fort. Not that there were only defeats at the fort. Excluding the periods of siege, the fort had always remained in possession of the Sisodias of the Guhilot (or Gehlot/Guhila) clan of Rajputs, who descended from Bappa Rawal. There were also success stories of establishment of the fort and its reconstruction after every siege, before it was finally abandoned in 1568, all of which are narrated.
Chittor is cited in the Mahabharat epic. It is said that Bhima, the second of the Pandava brothers of Epic Mahabaharata fame, known for his mighty strength gave a powerful hit with his fist to the ground that resulted in water springing up to form a large reservoir. It is called Bhimlat kund, an artificial tank named after Bhima. Folk legend also mentions that Bhima started building the fort.
BAPPA RAWAL
The earliest history linked to the Bappa Rawal's fort is that of the Huna Kingdom of Sialkot (of Mihir Kula 515-540 AD) that was destroyed by Yashodharman. This was subsequently seized by a new dynasty of kshatriyas called Tak or Taxaka. According to historians, the Taxak Mori were the lords of Chittor from a very early period. After a few generations, the Guhilots supplanted them. From 725 to 735 AD, there were numerous defenders who appear to have considered the cause of Chittor their own, the Tak from Asirgarh. This race appears to have retained possession of Asirgarh for at least two centuries after this event and one of its chieftain Bappa Rawal was the most conspicuous leader in the lineage of Prithvi Raj. In the poems of Chandar he is called the "Standard, bearer, Tak of Asir."
SIEGE OF 1303
Ala ud din Khilji, Sultan of Delhi, rallied his forces against Mewar, in 1303 AD. The Chittorgarh fort was till then considered impregnable and grand, atop a natural hill. But his immediate reason for invading the fort was his obsessive desire to capture Rani Padmini, the unrivalled beautiful queen of Rana Ratan Singh and take her into his harem. The Rana, out of politeness, allowed the Khilji to view Padmini through a set of mirrors. But this viewing of Padmini further fired Khilji’s desire to possess her. After the viewing, as a gesture of courtesy, when the Rana accompanied the Sultan to the outer gate, he was treacherously captured. Khilji conveyed to the queen that the Rana would be released only if she agreed to join his harem. But the queen had other plans. She agreed to go to his camp if permitted to go in a Royal style with an entourage, in strict secrecy. Instead of her going, she sent 700 well armed soldiers disguised in litters and they rescued the Rana and took him to the fort. But Khilji chased them to the fort where a fierce battle ensued at the outer gate of the fort in which the Rajput soldiers were overpowered and the Rana was killed. Khilji won the battle on August 26, 1303. Soon thereafter, instead of surrendering to the Sultan, the royal Rajput ladies led by Rani Padmini preferred to die through the Rajput’s ultimate tragic rite of Jauhar (self immolation on a pyre). In revenge, Khilji killed thirty thousand Hindus. He entrusted the fort to his son Khizr Khan to rule and renamed the fort as 'Khizrabad'. He also showered gifts on his son by way of
a red canopy, a robe embroidered with gold and two standards one green and the other black and threw upon him rubies and emeralds.
He returned to Delhi after the fierce battle at the fort.
RANA HAMMIR & SUCCESSORS
Khizr Khan’s rule at the fort lasted till 1311 AD and due to the pressure of Rajputs he was forced to entrust power to the Sonigra chief Maldeva who held the fort for 7 years. Hammir Singh, usurped control of the fort from Maldeva by “treachery and intrigue” and Chittor once again regained its past glory. Hammir, before his death in 1364 AD, had converted Mewar into a fairly large and prosperous kingdom. The dynasty (and clan) fathered by him came to be known by the name Sisodia after the village where he was born. His son Ketra Singh succeeded him and ruled with honour and power. Ketra Singh’s son Lakha who ascended the throne in 1382 AD also won several wars. His famous grandson Rana Kumbha came to the throne in 1433 AD and by that time the Muslim rulers of Malwa and Gujarat had acquired considerable clout and were keen to usurp the powerful Mewar state.
RANA KUMBHA & CLAN
There was resurgence during the reign of Rana Kumbha in the 15th century. Rana Kumbha, also known as Maharana Kumbhakarna, son of Rana Mokal, ruled Mewar between 1433 AD and 1468 AD. He is credited with building up the Mewar kingdom assiduously as a force to reckon with. He built 32 forts (84 fortresses formed the defense of Mewar) including one in his own name, called Kumbalgarh. But his end came in 1468 AD at the hands of his own son Rana Udaysimha (Uday Singh I) who assassinated him to gain the throne of Mewar. This patricide was not appreciated by the people of Mewar and consequently his brother Rana Raimal assumed the reins of power in 1473. After his death in May 1509, Sangram Singh (also known as Rana Sanga), his youngest son, became the ruler of Mewar, which brought in a new phase in the history of Mewar. Rana Sanga, with support from Medini Rai (a Rajput chief of Alwar), fought a valiant battle against Mughal emperor Babar at Khanwa in 1527. He ushered in a period of prestige to Chittor by defeating the rulers of Gujarat and also effectively interfered in the matters of Idar. He also won small areas of the Delhi territory. In the ensuing battle with Ibrahim Lodi, Rana won and acquired some districts of Malwa. He also defeated the combined might of Sultan Muzaffar of Gujarat and the Sultan of Malwa. By 1525 AD, Rana Sanga had developed Chittor and Mewar, by virtue of great intellect, valour and his sword, into a formidable military state. But in a decisive battle that was fought against Babar on March 16, 1527, the Rajput army of Rana Sanga suffered a terrible defeat and Sanga escaped to one of his fortresses. But soon thereafter in another attack on the Chanderi fort the valiant Rana Sanga died and with his death the Rajput confederacy collapsed.
SIEGE OF 1534
Bahadur Shah who came to the throne in 1526 AD as the Sultan of Gujarat besieged the Chittorgarh fort in 1534. The fort was sacked and, once again the medieval dictates of chivalry determined the outcome. Following the defeat of the Rana, it is said 13,000 Rajput women committed jauhar (self immolation on the funeral pyre) and 3,200 Rajput warriors rushed out of the fort to fight and die.
SIEGE OF 1567
The final Siege of Chittorgarh came 33 years later, in 1567, when the Mughal Emperor Akbar invaded the fort. Akbar wanted to conquer Mewar, which was being ably ruled by Rana Uday Singh II, a fine prince of Mewar. To establish himself as the supreme lord of Northern India, he wanted to capture the renowned fortress of Chittor, as a precursor to conquering the whole of India. Shakti Singh, son of the Rana who had quarreled with his father, had run away and approached Akbar when the later had camped at Dholpur preparing to attack Malwa. During one of these meetings, in August 1567, Shakti Singh came to know from a remark made in jest by emperor Akbar that he was intending to wage war against Chittor. Akbar had told Shakti Singh in jest that since his father had not submitted himself before him like other princes and chieftains of the region he would attack him. Startled by this revelation, Shakti Singh quietly rushed back to Chittor and informed his father of the impending invasion by Akbar. Akbar was furious with the departure of Shakti Singh and decided to attack Mewar to humble the arrogance of the Ranas. In September 1567, the emperor left for Chittor, and on October 20, 1567, camped in the vast plains outside the fort. In the meantime, Rana Udai Singh, on the advice of his council of advisors, decided to go away from Chittor to the hills of Udaipur. Jaimal and Patta, two brave army chieftains of Mewar, were left behind to defend the fort along with 8,000 Rajput warriors under their command. Akbar laid siege to the fortress. The Rajput army fought valiantly and Akbar himself had narrowly escaped death. In this grave situation, Akbar had prayed for divine help for achieving victory and vowed to visit the shrine of the sufi saint Khwaja at Ajmer. The battle continued till February 23, 1568. On that day Jaymal was seriously wounded but he continued to fight with support from Patta. Jayamal ordered jauhar to be performed when many beautiful princesses of Mewar and noble matrons committed self-immolation at the funeral pyre. Next day the gates of the fort were opened and Rajput soldiers rushed out bravely to fight the enemies. Jayamal and Patta who fought bravely were at last killed in action. One figure estimates that 30,000 soldiers were killed in action. Akbar immediately repaired himself to Ajmer to perform his religious vow.
RETURN OF THE FORT TO MEWAR
But in 1616, Jehangir returned Chittor fort to the Rajputs, when Maharana Amar Singh was the chief of Mewar. However, the fort was not resettled though it was refurbished several centuries later in 1905 during British Raj.
PRECINCTS
The fort which is roughly in the shape of a fish has a circumference of 13 km with a maximum width of 3 km and it covers an area of 700 acres. The fort is approached through a zig zag and difficult ascent of more than 1 km from the plains, after crossing over a bridge made in limestone. The bridge spans the Gambhiri River and is supported by ten arches (one has a curved shape while the balance have pointed arches). Apart from the two tall towers, which dominate the majestic fortifications, the sprawling fort has a plethora of palaces and temples (many of them in ruins) within its precincts.
The 305 hectares component site, with a buffer zone of 427 hectares, encompasses the fortified stronghold of Chittorgarh, a spacious fort located on an isolated rocky plateau of approximately 2 km length and 155m width.
It is surrounded by a perimeter wall 4.5 kilometres long, beyond which a 45° hill slope makes it almost inaccessible to enemies. The ascent to the fort passes through seven gateways built by the Mewar ruler Rana Kumbha (1433- 1468) of the Sisodia clan. These gates are called, from the base to the hill top, the Paidal Pol, Bhairon Pol, Hanuman Pol, Ganesh Pol, Jorla Pol, Laxman Pol, and Ram Pol, the final and main gate.
The fort complex comprises 65 historic built structures, among them 4 palace complexes, 19 main temples, 4 memorials and 20 functional water bodies. These can be divided into two major construction phases. The first hill fort with one main entrance was established in the 5th century and successively fortified until the 12th century. Its remains are mostly visible on the western edges of the plateau. The second, more significant defence structure was constructed in the 15th century during the reign of the Sisodia Rajputs, when the royal entrance was relocated and fortified with seven gates, and the medieval fortification wall was built on an earlier wall construction from the 13th century.
Besides the palace complex, located on the highest and most secure terrain in the west of the fort, many of the other significant structures, such as the Kumbha Shyam Temple, the Mira Bai Temple, the Adi Varah Temple, the Shringar Chauri Temple, and the Vijay Stambh memorial were constructed in this second phase. Compared to the later additions of Sisodian rulers during the 19th and 20th centuries, the predominant construction phase illustrates a comparatively pure Rajput style combined with minimal eclecticism, such as the vaulted substructures which were borrowed from Sultanate architecture. The 4.5 km walls with integrated circular enforcements are constructed from dressed stone masonry in lime mortar and rise 500m above the plain. With the help of the seven massive stone gates, partly flanked by hexagonal or octagonal towers, the access to the fort is restricted to a narrow pathway which climbs up the steep hill through successive, ever narrower defence passages. The seventh and final gate leads directly into the palace area, which integrates a variety of residential and official structures. Rana Kumbha Mahal, the palace of Rana Kumbha, is a large Rajput domestic structure and now incorporates the Kanwar Pade Ka Mahal (the palace of the heir) and the later palace of the poetess Mira Bai (1498-1546). The palace area was further expanded in later centuries, when additional structures, such as the Ratan Singh Palace (1528–31) or the Fateh Prakash, also named Badal Mahal (1885-1930), were added. Although the majority of temple structures represent the Hindu faith, most prominently the Kalikamata Temple (8th century), the Kshemankari Temple (825-850) the Kumbha Shyam Temple (1448) or the Adbuthnath Temple (15th- 16th century), the hill fort also contains Jain temples, such as Shringar Chauri (1448) and Sat Bis Devri (mid-15th century) Also the two tower memorials, Kirti Stambh (13th-14th century) and Vijay Stambha (1433-1468), are Jain monuments. They stand out with their respective heights of 24m and 37m, which ensure their visibility from most locations of the fort complex. Finally, the fort compound is home to a contemporary municipal ward of approximately 3,000 inhabitants, which is located near Ratan Singh Tank at the northern end of the property.
GATES
The fort has total seven gates (in local language, gate is called Pol), namely the Padan Pol, Bhairon Pol, Hanuman Pol, Ganesh Pol, Jodla Pol, Laxman Pol and the main gate named the Ram Pol (Lord Rama's Gate). All the gateways to the fort have been built as massive stone structures with secure fortifications for military defense. The doors of the gates with pointed arches are reinforced to fend off elephants and cannon shots. The top of the gates have notched parapets for archers to shoot at the enemy army. A circular road within the fort links all the gates and provides access to the numerous monuments (ruined palaces and 130 temples) in the fort.
During the second siege, Prince Bagh Singh died at the Padan Pol in 1535 AD. Prince Jaimal of Badnore and his clansman Kalla were killed by Akbar at a location between the Bhairon Pol and Hanuman Pol in the last siege of the fort in 1567 (Kalla carried the wounded Jaimal out to fight). Chhatris, with the roof supported by corbeled arches, have been built to commemorate the spots of their sacrifice. Their statues have also been erected, at the orders of Emperor Akbar, to commemorate their valiant deaths. At each gate, cenotaphs of Jaimal (in the form of a statue of a Rajput warrior on horseback) and Patta have also been constructed. At Ram Pol, the entrance gate to the fort, a Chaatri was built in memory of the 15 year old Patta of Kelwa, who had lost his father in battle, and saw the sword yielding mother and wife on the battle field who fought valiantly and died at this gate. He led the saffron robed Rajput warriors, who all died fighting for Mewar’s honour. Suraj Pol (Sun Gate) provides entry to the eastern wall of the fort. On the right of Suraj Pol is the Darikhana or Sabha (council chamber) behind which lie a Ganesha temple and the zenana (living quarters for women). A massive water reservoir is located towards the left of Suraj Pol. There is also a peculiar gate, called the Jorla Pol (Joined Gate), which consists of two gates joined together. The upper arch of Jorla Pol is connected to the base of Lakshman Pol. It is said that this feature has not been noticed anywhere else in India. The Lokota Bari is the gate at the fort’s northern tip, while a small opening that was used to hurl criminals into the abyss is seen at the southern end.
VIJAY STAMBHA
The Vijay Stambha (Tower of Victory) or Jaya Stambha, called the symbol of Chittor and a particularly bold expression of triumph, was erected by Rana Kumbha between 1458 and 1468 to commemorate his victory over Mahmud Shah I Khalji, the Sultan of Malwa, in 1440 AD. Built over a period of ten years, it raises 37.2 metres over a 4.4 m2 base in nine stories accessed through a narrow circular staircase of 157 steps (the interior is also carved) up to the 8th floor, from where there is good view of the plains and the new town of Chittor. The dome, which was a later addition, was damaged by lightning and repaired during the 19th century. The Stamba is now illuminated during the evenings and gives a beautiful view of Chittor from the top.
KIRTI STAMBHA
Kirti Stambha (Tower of Fame) is a 22 metres high tower built on a 9.1 m base with 4.6 m at the top, is adorned with Jain sculptures on the outside and is older (probably 12th century) and smaller than the Victory Tower. Built by a Bagherwal Jain merchant Jijaji Rathod, it is dedicated to Adinath, the first Jain tirthankar (revered Jain teacher). In the lowest floor of the tower, figures of the various tirthankars of the Jain pantheon are seen in special niches formed to house them. These are digambara monuments. A narrow stairway with 54 steps leads through the six storeys to the top. The top pavilion that was added in the 15th century has 12 columns.
RANA KUMBHA PALACE
At the entrance gate near the Vijaya Stamba, Rana Kumbha's palace (in ruins), the oldest monument, is located. The palace included elephant and horse stables and a temple to Lord Shiva. Maharana Udai Singh, the founder of Udaipur, was born here; the popular folk lore linked to his birth is that his maid Panna DaiPanna Dhai saved him by substituting her son in his place as a decoy, which resulted in her son getting killed by Banbir. The prince was spirited away in a fruit basket. The palace is built with plastered stone. The remarkable feature of the palace is its splendid series of canopied balconies. Entry to the palace is through Suraj Pol that leads into a courtyard. Rani Meera, the famous poetess saint, also lived in this palace. This is also the palace where Rani Padmini, consigned herself to the funeral pyre in one of the underground cellars, as an act of jauhar along with many other women. The Nau Lakha Bandar (literal meaning: nine lakh treasury) building, the royal treasury of Chittor was also located close by. Now, across from the palace is a museum and archeological office. The Singa Chowri temple is also nearby.
FATEH PRAKASH PALACE
Located near Rana Khumba palace, built by Rana Fateh Singh, the precincts have modern houses and a small museum. A school for local children (about 5,000 villagers live within the fort) is also nearby.
GAUMUKH RESERVOIR
A spring feeds the tank from a carved cow’s mouth in the cliff. This pool was the main source of water at the fort during the numerous sieges.
PADMINI´S PALACE
Padmini's Palace or Rani Padmini's Palace is a white building and a three storied structure (a 19th-century reconstruction of the original). It is located in the southern part of the fort. Chhatris (pavilions) crown the palace roofs and a water moat surrounds the palace. This style of palace became the forerunner of other palaces built in the state with the concept of Jal Mahal (palace surrounded by water). It is at this Palace where Alauddin was permitted to glimpse the mirror image of Rani Padmini, wife of Maharana Rattan Singh. It is widely believed that this glimpse of Padmini's beauty besotted him and convinced him to destroy Chittor in order to possess her. Maharana Rattan Singh was killed and Rani Padmini committed Jauhar. Rani Padmini's beauty has been compared to that of Cleopatra and her life story is an eternal legend in the history of Chittor. The bronze gates to this pavilion were removed and transported to Agra by Akbar.
OTHER SIGHTS
Close to Kirti Sthamba is the Meera Temple, or the Meerabai Temple. Rana Khumba built it in an ornate Indo–Aryan architectural style. It is associated with the mystic saint-poet Mirabai who was an ardent devotee of Lord Krishna and dedicated her entire life to His worship. She composed and sang lyrical bhajans called Meera Bhajans. The popular legend associated with her is that with blessings of Krishna, she survived after consuming poison sent to her by her evil brother-in-law. The larger temple in the same compound is the Kumbha Shyam Temple (Varaha Temple). The pinnacle of the temple is in pyramid shape. A picture of Meerabai praying before Krishna has now been installed in the temple.
Across from Padmini’s Palace is the Kalika Mata Temple. Originally, a Sun Temple dated to the 8th century dedicated to Surya (the Sun God) was destroyed in the 14th century. It was rebuilt as a Kali temple.
Another temple on the west side of the fort is the ancient Goddess Tulja Bhavani Temple built to worship Goddess Tulja Bhavani is considered sacred. The Tope Khana (cannon foundry) is located next to this temple in a courtyard, where a few old cannons are still seen.
JAUHAR MELA
The fort and the city of Chittorgarh host the biggest Rajput festival called the "Jauhar Mela". It takes place annually on the anniversary of one of the jauhars, but no specific name has been given to it. It is generally believed that it commemorates Padmini’s jauhar, which is most famous. This festival is held primarily to commemorate the bravery of Rajput ancestors and all three jauhars which happened at Chittorgarh Fort. A huge number of Rajputs, which include the descendants of most of the princely families, hold a procession to celebrate the Jauhar. It has also become a forum to air one's views on the current political situation in the country.
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