Not currently on display at the V&A

View of the Nave from the Simhasanum from the Westend

Photograph
January 1858-March 1858 (photographed), 1860 (published)
Artist/Maker
Place of origin

Linnaeus Tripe (1822–1902) documented much of south India as official photographer to the Madras government (1856–1860). This image shows a the central nave of a Choultry (a Hindu building made to accommodate caravans around a large courtyard), also known as the Puthu or Poodoo Munduppum, built in the 17th century by the Madurai ruler Tirumalai (also spelt Thirumalai) Nayak. The text published with this photograph explains, ‘...On the column near the middle of the nave and on each side of it, are statues of the Madura Nayaks. The series commences on the south side [right of image] with Viswanatha Nayak the founder of the dynasty, and directly opposite to him [left of image] is represented Tirumalai Nayak with two of his wives and a female servant. One of these wives was the daughter of the Rajah of Tanjore: On being brought by her husband to his new palace, he asked her how it compared in splendor with that of her father, to which ... she replied that it was not fit to be compared with her father’s stables. Stung with insults the King wounded her in the thigh with his dagger, and when the pillar, given in the view, was wrought, the wound, it is related, reappeared in the figure to the surprise of the sculptor, and every effort to conceal it proved a failure, and it still remains as a warning to all passionate husbands.' Given the darkness of the nave, Tripe has very skillfully captured the details of the carving, with beautiful results.


Object details

Category
Object type
TitleView of the Nave from the Simhasanum from the Westend (assigned by artist)
Materials and techniques
Albumen print from dry collodion-on-glass negative
Brief description
Photograph, No. III 'View of the Nave from the Simhasanum from the Westend', from the photograph album by Capt. Linnaeus Tripe, 'Photographs of Madura: Part II', South India, 1858
Physical description
This black and white photograph shows a view down a nave, with bright sunlight at the end, and details in the stonework and sculptures carefully captured.
Dimensions
  • Photographic print height: 216mm
  • Photographic print width: 310mm
  • Album page height: 453mm
  • Album page width: 572mm
The two top corners are curved.
Production typeLimited edition
Credit line
Given by Lady Denison
Object history
This photograph was given by Lady Denison in 1889 during the keepership of Caspar Purdon Clarke, Keeper of the Indian Section of the V&A. It was written off in 1937, and rediscovered and re-evaluated in the 1990s. See Dewan p.421 for listings of other copies elsewhere.
This photograph was published as plate III of nine in the album Photographs of Madura: Part II 1858, by 'Captain L. Tripe, Government Photographer', published in 1860. It was taken as part of Tripe's remit as the government photographer, which he himself defined broadly, as recording, ‘before they disappear’ buildings, sculptures and inscriptions…' including the picturesque. This was a model for an extensive survey, including tuition of others and experimentation in his own practice. He was funded by the Madras government, but intended selling additional copies of some prints so that his practice could be self-funding.

This photograph was published with the following text:
‘….On the column near the middle of the nave and on each side of it, are statues of the Madura Nayaks. The series commences on the south side [right of image] with Viswanatha Nayak the founder of the dynasty, and directly opposite to him [left of image] is represented Tirumalai Nayak with two of his wives and a female servant. One of these wives was the daughter of the Rajah of Tanjore: On being brought by her husband to his new palace, he asked her how it compared in splendor with that of her father, to which, perhaps under the influence of home sickness, she replied that is was not fit to be compared with her father’s stables. Stung with insults the King wounded her in the thigh with his dagger, and when the pillar, given in the view, was wrought, the wound, it is related, reappeared in the figure to the surprise of the sculptor, and every effort to conceal it proved a failure, and it still remains as a warning to all passionate husbands. The figures of Tirumalai Nayak and his wives are gaily painted, and adorned with garlands at festivals, in remembrance of his munificence to the Temple.

Historical significance: Tripe's photographs of South India are an important body of work within Tripe's oeuvre, and are recognised as being some of the most aesthetically and technically competent images of India made in the 19th century.
Tripe entered his Madura series as part of total of 50 photographs from his 1857–8 tour of South India in the 1859 annual exhibition of the Madras Photographic Society. The jury dubbed his photographs ‘the best in the Exhibition’ but as Tripe could not be classed an amateur, he could not win the gold medal. Tripe declined the silver medal amicably, since he considered that as an official photographer he had an unfair advantage over the other entrants.
Tripe’s photographs were valued for their informational value and their technical quality. The adjudicating committee stated that Tripe’s photographs ‘illustrate admirably the architecture of the Hindoo Temples and Places of Southern India, and in particular the Madura and Tanjore series comprise in this respect all that is most worthy of record in those cities.’ (See Dewan, p.16). Forty-six of Tripe’s 50 exhibited images were made from paper (calotype) negatives, which the committee didn't feel were as successful as dry collodion-on-glass negatives, however, declaring that ‘the superiority of definition given by Collodion [-on-glass] is very visible when placed side by side with them.’ It is thought that Tripe prefered paper to glass negatives due to paper being easier and safer to work with. This photograph is made with a glass negative, which may have made it easier to obtain sharp and focussed results.
Historical context
The southern districts tour and Madras presidency photographs, 1857-58
The Madras government appointed Tripe as photographer following the 1855 directive from the Court of Directors in London, who discouraged illustration in favour of 'photography as a means by which representations may be obtained of scenes and buildings, with the advantages of perfect accuracy, small expenditure of time, and moderate cash', and asked that photography be the main means of recording architecture and antiquities (Dewan, p.6).

As official photographer to the Madras Government, Tripe set off from Bangalore on 14 December 1857 after delays due to waiting for modifications to his new English camera, and his recovery after falling from a horse. He ended his tour in Madras on 30 April 1858 after travelling via Srirangam, Tiruchchirappalli, Madurai, then Pudukkottai, Tanjore, and Tiruchchirappalli again (then called Seeringham, Trichinopoly, Madura, Poodoocottah and Tanjore).

All of these areas had been forcefully taken under British rule in the previous one hundred years, but Tripe looked for scenes or subjects with architectural or antiquarian interest rather than political significance. He had wanted to ensure his images were practical too: before he had set out he had asked the chief engineer for guidance on what would be most useful from an engineering perspective, and incorporated this input into his work.
Production
Edition number unknown. The album of which this photograph is part is one of between 71 and 74 copies.

Attribution note: The V&A has another copy of Tripe's Photographic Views in Madura, parts I to IV (bound) in the National Art Library, pressmark 104.N. The glass negative remains unlocated.
Reason For Production: Commission
Subjects depicted
Place depicted
Summary
Linnaeus Tripe (1822–1902) documented much of south India as official photographer to the Madras government (1856–1860). This image shows a the central nave of a Choultry (a Hindu building made to accommodate caravans around a large courtyard), also known as the Puthu or Poodoo Munduppum, built in the 17th century by the Madurai ruler Tirumalai (also spelt Thirumalai) Nayak. The text published with this photograph explains, ‘...On the column near the middle of the nave and on each side of it, are statues of the Madura Nayaks. The series commences on the south side [right of image] with Viswanatha Nayak the founder of the dynasty, and directly opposite to him [left of image] is represented Tirumalai Nayak with two of his wives and a female servant. One of these wives was the daughter of the Rajah of Tanjore: On being brought by her husband to his new palace, he asked her how it compared in splendor with that of her father, to which ... she replied that it was not fit to be compared with her father’s stables. Stung with insults the King wounded her in the thigh with his dagger, and when the pillar, given in the view, was wrought, the wound, it is related, reappeared in the figure to the surprise of the sculptor, and every effort to conceal it proved a failure, and it still remains as a warning to all passionate husbands.' Given the darkness of the nave, Tripe has very skillfully captured the details of the carving, with beautiful results.
Bibliographic reference
Dewan, Janet. The Photographs of Linnaeus Tripe: A Catalogue Raisonné. Toronto: Art Gallery of Ontario, 2003, p.421.
Collection
Accession number
IS.39:4-1889

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Record createdJanuary 3, 2007
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