The Sufi Trail - Mehrauli

Mehrauli is one of the seven ancient cities that make up the present state of Delhi. For most Delhiites and tourists, Mehrauli is where the Qutab Minar is. But for those who are curious about the city and its history, Mehrauli, behind the Qutab Minar is a high energy, bustling city by itself with tons of history and a lesson on how people rich, poor and of different religions can live in perfect harmony.

Narrow winding streets, old homes, crowded bazaars with just about everything on offer, from food, clothes, jewelry, hookahs and tobacco, metal trunks in all sizes and of course some mughlai cuisine all much cheaper than the newer city next door are what make this place a delight to visit. And yes, one can actually experience the lifestyle of the Mehrauli of old, when faced with open drains, the baolis filled with sewage instead of the clean water they once held for the use of the inhabitants. It seems modern amenities are a long time away in touching this part of town.

So, with discovering Mehrauli’s hidden treasures in mind, we set off one early morning on a heritage walk which promised us three hours of excitement, but of course which took us more than four hours. There was too much to take in that one morning.

We started out at the entrance to the village at the junction of Adam Khan’s tomb and the Yogmaya temple then walking down some open tracks through a green area and through a bustling bazaar stopping at historical sites on the way.

The walk is called the Sufi trail since the main attraction is the Dargah of the Sufi saint Qutbuddin Bhaktiar Kaki. So with his Chilla on one side, the Dargah on the other and everything else in between, it made for an interesting walk.

YOGMAYA TEMPLE

The Yogmaya or Jogmaya temple is an ancient Hindu temple dedicated to Goddess Yogmaya the sister of Krishna and situated in Mehrauli. It is widely believed to be one of the five surviving temples from the Mahabharata period in Delhi.

Yogmaya is considered, an aspect of Maya the illusionary power of God. The present temple was built in early 19th century and is a descendant of a much older Devi shrine. In 12th-century Jain scriptures, Mehrauli is also mentioned as Yoginipura, after the temple.

The temple built in 1827 is a simple but contemporary structure with an entrance hall and a sanctum sanctorum that houses the main Idol of Yogmaya made of black stone placed in a marble well. The idol is covered in sequins and cloth. Two small pankhas (fans) are seen suspended over the Idol from the roof.

A folk legend is connected with Mughal Emperor Akbar II’s association with the temple. His wife was distraught at the incarceration and exile of her son Mirza Jehangir who had fired from a Red Fort window at the then British Resident that had resulted in killing of the resident’s bodyguard. Yogmaya had appeared in her dream and after that the Queen praying for her son’s safe return had vowed to place pankhas made of flowers at the Yogmaya temple and in the near by Sufi shrine of Qutbuddin Bhaktiar Khaki. This practice set since then is continued to this day in the name of Phool Walon ki Sair, a festival held for three days during October every year. First started in 1812, the festival has today, become an important inter-faith festival of Delhi.


THE BHOOL BHULAIYA OR ADAM KHAN’S TOMB

Adam Khan's Tomb was built in 1562 by Emperor Akbar and is situated in Mehrauli village along the walls of Lal Kot. It is an octagonal structure. Adam Khan was the son of Maham Anga the foster mother of the emperor Akbar. He was a noblemen and a general in Akbar's army. However when he killed Ataga Khan, Akbar’s foster father, he was thrown off the Agra Fort by the orders of the emperor himself. Struck with grief by this incident Adam Khan's foster mother Maham Anga also passed away. Akbar then buried both Adam Khan and Maham Anga near the shrine of Hazrat Qutbuddin Bakhtiyar Kaki and the famous Qutab Minar.

This place is also known as Bhool Bhulaiyya (lybrinth). It got this name after several people mysteriously disappeared one night. It is said that a group came to Mehrauli for marriage and all the relatives took shelter at this tomb in the night. Next morning, not even a single person was to be found. It is difficult to believe that somebody gets lost in the corridors of this tomb, but the dense forest of Lal Kot behind this stone structure is enough to consume an entire village.
During the British Raj, the graves of Adam Khan and Maham Anga were destroyed from inside the tomb and the building was converted into the residence of Lord Curzon from Bengal Civil Services. Later, it was converted to a Police Station and then a Post Office. After the post office was shifted to a better building, this place continued to serve as a rest house. After long time, this tomb was recovered and one of the graves was restored.

A walk through the forest behind the tomb takes you to the CHILLA of Qutbuddin Bakhtiyar Kaki situated at Daulat Bagh near Ana Sagar Lake in Mehrauli.

The number 786 is noticeable above the entrance. "786" is the total value of the letters of "Bismillah al-Rahman al-Rahim", the Arabic letters of the opening phrase of the Qur'an. The Chilla is a spiritual practice of penance and solitude, known mostly in Indian and Persian traditions. In this ritual a mendicant or ascetic attempts to remain seated in a circle without food, water, or sleep for 40 days and nights. The word 'Chilla' is adopted from the Persian word 'chehel', meaning 'forty'

JAHAZ MAHAL or Ship Palace, built between 1451 - 1526 is located next to Hauz-i-Shamsi on its north eastern corner. It was so named, since its reflection (illusion) in the surrounding reservoir looked like a ship floating on a lake.

Hauz-i-Shamsi is a water storage reservoir or tank built by Iltumish of the Slave Dynasty in 1230 AD. A popular legend narrated is of Iltumish’s dream in which Muhammad directed him to build a reservoir at a particular site. When Iltumish inspected the site the day after his dream, he is reported to have found a hoof print of Muhammad's horse. He then erected a pavilion to mark the sacred location and excavated a large tank (reservoir) around the pavilion to harvest rain water.

The Palace is inferred to have been built during the Lodi dynasty period (1452-1526) as a pleasure resort or a sarai or an inn to the large number of pilgrims from Afghanistan, Arabia, Iran, Iraq, Morocco and Turkey who came to Delhi to visit the many Muslim shrines. Another version is that it was built as a retreat for the emperors, Akbar Shah II and Bahadur Shah II and their families, during the summer months, away from the heat and dust of Delhi.

The palace is approached from the eastern side. A courtyard, originally in a rectangular shape now seen in ‘U’ shape, is in the center of the palace. The palace has carved impressive square Chhatris (six of them with different numbers of pillars – six, eight and twelve) in the corners and the centre, ornamented with beautiful squinches in different chambers and walls. The domed pavilion over the central gate is decorated with blue tiles. A small mosque is also located within the palace, as discerned from a Mihrab in a niche on the west wall.

Jahaz Mahal is the venue of the annual colorful festival of the Phool Walon Ki Sair. A procession of flower bedecked pankhas (fans) made and carried by the flower vendors starts from Mehrauli at the overflow outlet of the Hauz-i-Shamsi tank, called "Jharna", stops at the Yogmaya Temple for the first offering of the flower fan as mark of reverence, moves to the Jahaz Mahal and finally ends at the famous Dargah of Hazrat Qutbuddin Bakhtiyar Kaki for the presentation of the fans and chaddar at Kaki's Dargah.

HIJRON KA KHANQAH

Beautifully maintained, surprisingly serene, and almost always empty, this is a Sufi spiritual retreat for hijras, or eunuchs, who beg for money by flaunting their ambiguous sexuality, and yet are fiercely guarded about their private lives.

Situated on the bazaar street, the khanqah is entered through an iron grill. Up a flight of six stairs, the courtyard is covered with 50 whitewashed tombs. Forty-nine hijras are buried here. The chief tomb, covered by a roof, is said to be that of the sister of a man known simply as Sheikh Baba.

This was originally a Lodi-era graveyard that was claimed by eunuchs at the turn of the 20th century. The western wall has seven Mihrab (niches) indicating the direction of Mecca’s main shrine. Try climbing the stairs; the courtyard view from the roof is lovely.

Kinnars – the politically correct term for hijras – come here from different neighbourhoods in Delhi, as well as from regions as far as Haryana, Punjab, Andhra Pradesh and Maharashtra. They arrive in groups of 10, 15 or even 50; usually to celebrate an occasion. Here they feast, sing, dance and pray. Sometimes they cook in the graveyard; sometimes they bring in packed biryani. In their absence, the khanqah with its giant neem tree remains as still as a grave

ZAFAR MAHAL

Zafar Mahal, in Mehrauli village, is considered the last monumental structure built as a summer palace during the fading years of the Mughal era. The building has two components namely, the Mahal or the palace, which was built first by Akbar Shah II in the 18th century and the entrance gate that was reconstructed in the 19th century by Bahadur Shah Zafar II. It has a forlorn history because Bahadur Shah Zafar who wished to be buried at a selected burial ground, precincts of the Zafar Mahal and the famous Dargah, was deported by the British to Rangoon, after the 1857 Sepoy Mutiny, where he died of old age without any honour.

The graves in Mehrauli in the precincts of Zafar Mahal, built within a marble screen enclosure by Jahandar Shah for his father Bahadur Shah I and others who followed, is a minor reflection of the history of the place.

The palace has an imposing gate. Built as a three-storied structure in red sandstone embellished with marble, it is around 50 feet wide with a gate opening called the Hathi gate, built to allow full decorated elephants with the howdah to pass through. An inscription on the main arch credits building of the gate by Bahadur Shah II in the eleventh year of his accession as Emperor in 1847 -48 AD. A broad Chhajja built in the Mughal style is a striking feature of the arch. At the entrance gate, the logo has small projecting windows flanked by curved and covered Bengali domes. On both sides of the arch, two ornate medallions in the form of large lotuses have been provided. The gateway also depicts a classic tripolia or three-arch opening into the baaraadaree which fully draws the breeze. In the top floor of the palace, there is multi chambered dalan (arcade room with one open side overlooking a courtyard), considered the Indian part of the structure, which has terrace on the palace side and with a view of the entrance at the other end.

European type structures of 19th century vintage are also seen in external decorations, which are not very pleasing. A fire place is also seen on an inside wall, identified as a European addition to the palace.


THE DARGAH OF QUTBUDDIN BAKHTIAR KAKI

Qutbuddin Bakhtiyar Kaki was a renowned Muslim Sufi mystic, saint and scholar of the Chishti order. He was the disciple and the spiritual successor of Moinuddin Chishti as head of the Chishti order. Before him the Chishti order in India was confined to Ajmer and Nagaur. He played a major role in establishing the order securely in Delhi.

His Dargah in Mehrauli, the oldest Dargah in Delhi, is the venue of his annual Urs. The Urs was held in high regard by many rulers of Delhi like Qutbuddin Aibak, Iltutmish who built a nearby step well, Gandhak ki Baoli for him, Sher Shah Suri who built a grand gateway, Bahadur Shah I who built the Moti Masjid mosque nearby and Farrukhsiyar who added a marble screen and a mosque. Women are not permitted to visit the tomb and can only see it through the marble screen surrounding the courtyard.

Qawalis are held on Fridays and Sundays in the courtyard at the entrance of the Dargah. The musicians receive donations from listeners. On Sunday one can buy a plate of biryani for the poor just for Rs. 10/-.

The influence of Qutbuddin Bakhtiyar Kaki on Sufism in India was immense. As he continued and developed the traditional ideas of universal brotherhood and charity within the Chisti order, a new dimension of Islam started opening up in India which had hitherto not been present. He forms an important part of the Sufi movement which attracted many people to Islam in India in the thirteenth and fourteenth centuries.

Qutbuddin Bakhtiyar Kaki was born in a small town called Aush in the present day Kyrgyztan. The name Kaki was attributed to him by virtue of a keramat (miracle) that emanated from him in Delhi. According to it, he asked his wife not to take credit from the local baker despite their extreme poverty. Instead he told her to pick up Kak (a kind of bread) from a corner of their house whenever needed. After this his wife found that Kak miraculously appeared in that corner whenever she required. The baker, in the meantime, had become worried whether the Khwaja had stopped taking credit due to being perchance angry with him. Accordingly, when the baker's wife asked the reason from the Khwaja's wife, she told her about the miracle of Kak. Although the Kak stopped appearing due to the revealing of the secret, from that day the people started referring to him as Kaki.

Left of the Ajmeri Gate of the Dargah at Mehrauli lies Moti Masjid, a small mosque for private prayer built by Mughal emperor Bahadur Shah I in 1709.

ST. JOHN’S CHURCH

St. John's Church in Mehrauli, built in 1928, was designed by Alfred Coore of the Brotherhood of the Ascendant Church. The Church could also pass off as one of the quaint monuments of Mehrauli where Hindu and Muslim architecture merge to form a unique Indian brand of its own. The church is unique still for it is the synthesis of both these forms plus the Gothic. One wonders if the designer had a dream like Akbar for a Din-i-Ilahi type project. Inquiries reveal that it was something more practical - the need to make the church less Western oriented and more in keeping with the culture of the country, where the missionary wanted people to see Christ on the Indian roads. As a matter of fact, at the time when the church was built, some 70 years ago, the congregation was mostly from the surrounding villages, many of which have now made way for modern colonies.

Every year a pre-dawn Easter service is held in a graveyard not far from the church. But why in a graveyard of all places and at that too at an unearthly hour? Easter commemorates the resurrection of Jesus Christ. Well to keep up the tradition, the Church at Mehrauli holds a candlelight procession every year. A 100-odd people take part in the ritual. An unusual way, no doubt, of celebrating Easter, the festival of spring and hope. But with wider participation could it become just as popular as Phool Waalon ki Sair?

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THE HIDDEN TREASURE – ORCHHA

One travels in tightly packed in tuk tuks and buses from Jhansi about 18km away and arrives at ‘Orchha’ meaning hidden. And it is really a hidden treasure. A small habitation, with a population of less than 10,000, it’s the place to go to experience a couple of days break from the big bad world. Clustered around the foot of the exotic ruins, a sleepy village of neatly painted houses, market stalls and hotels provide most of the basic amenities. Like in every part of the country, one can witness the disrespect shown by politicians during the elections. The homes, which looked freshly painted, had names of candidates and their symbols splashed all over them. One thing very striking in Orchha is the cleanliness. No liter, no kids harassing you, no beggars. The occasional sadhu would however pose for a photograph at a cost of Rs. 10! The people were all very friendly are available for a little chat. No luxuries in this place, but one can see the town expanding rapidly as the government is promoting tourism this way. For over 400 years the only earning of the local people came from pilgrims to the Ram Temple. Now it is tourism that the locals depend on.

 








Orchha was founded in the 16th century by the Bundela Rajput chieftain, Rudra Pratap, who chose this stretch of land along the Betwa River as an ideal site for his capital being inspired by a hermit whom he had met living there. The town, surrounded by thick jungle that long made it impregnable, was founded in 1531 and served until 1783 as the capital of the former Orchha princely state. The Bundela dynasty's fortunes depended on the goodwill of the Mughals. Orchha's most illustrious ruler was Raja Bir Singh Deo. During his 22-year rule, he erected a total of 52 forts and palaces across the region, including the citadel at Jhansi, the rambling Narsing Dev at Datia, and many of Orchha's finest buildings.

In the early 17th century it was systematically devastated by the forces of the Mughal emperor Shah Jahan following the rebellion of the Bundela chief Jujhar Singh. But long after the rulers left it, Orchha's grandeur has been captured in stone, frozen in time, a rich legacy to the ages.

We were fortunate to arrive on Mahashivratri when the village was abuzz with preparations for the wedding of Lord Shiva. Late in the evening we witnessed “Shivji ki baraat”, the procession of Shivji as a groom to his marriage. One could easily say that this baraat was no different from any other, delays, band baaja, dance, et al. Where the deity would have arrived in resplendent costumes in a big city, here, the young man was painted from head to foot in indigo and rode a mare! The procession went right around the entire village before returning to the little Shiv Mandir, decorated for the marriage ceremony.

On a seasonal island on the bank of the Betwa River, which has been surrounded by a battlement wall, stands a huge palace-fort. The fort consists of several connected buildings erected at different times, the most noteworthy of which are the Raj Mandir and the Jahangir Mahal. 

Orchha

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The Palaces

The Raj Mandir was started by Rudra Pratap, and completed by one of his successors, Madhukar Shah. Of the two rectangular courtyards inside, the second, formerly used by the Bundela queens, is the most dramatic. Opulent royal quarters, raised balconies and interlocking walkways rise in symmetrical tiers on all four sides, crowned by domed pavilions and turrets. One can find the fragments of mirror inlay and vibrant paintings plastered over their walls and ceilings.

The Jehangir Mahal, Orchha's single most admired palace, was built by Bir Singh Deo as a monumental welcome present for the Mughal emperor Jehangir when he paid a state visit in the 17th century. Entering through an ornate ceremonial gateway, the east-facing facade is encrusted with turquoise tiles. Two stone elephants flank the stairway, holding bells in their trunks to announce the arrival of the Raja. Three storeys of elegant hanging balconies, terraces, apartments and onion domes are piled around a central courtyard. This palace, however, is sort of more airy and lighted since it has countless windows and pierced stone screens looking out over the skyline to the west, and a sea of treetops and ruined temples in the other direction.

The Sheesh Mahal, palace of mirrors, was built during the early 18th century, long after Orchha's demise. It was originally intended as an exclusive country retreat for the local Raja, Udait Singh. Following India's independence the property was inherited by the State government. The low, rather squat palace stands between the Raj Mahal and the Jehangir Mahal, at the far end of an open-sided courtyard and is now run as a hotel by Madhya Pradesh Tourism. Covered in whitewash and stripped of most of its Persian rugs and antiques, the building retains little of its former splendour, though it does offer stunning views from its upper terraces and turrets.

The Rai Praveen Mahal is a small, double-storeyed brick apartment built by Raja Indramani for his concubine in the mid-1670s. This building lies to the North of the Sheesh Mahal. The building, set amid the lawns of the Anand Mahal gardens, it has a main assembly hall on the ground floor (used to host music and dance performances), a boudoir upstairs, and cool underground apartments.

Around the village below the hill are several other interesting monuments most of which have lain virtually deserted now.

The Chaturbhuj Temple was built upon a massive stone platform and is reached by a steep flight of steps. Raja Madhukar built the temple for Lord Rama between the years 1558 and 1573. While the king was a worshipper of Lord Krishna, Maharani Gansh Kunwari was a devotee of Lord Rama. As a charming tale goes, the King being annoyed at the Queen’s refusal to go on a pilgrimage with him to Mathura, instructed her to go to Ayodhya and not return without the idol of Lord Rama. Thus she spent a number of years interceding with the Lord to return with her. When she could not find a way, she attempted suicide. This is when Lord Rama agreed to return with her, but on three conditions. One, that she would carry him all the way back on foot, second, he would be installed at the place where he was first installed and third that he would be worshipped as a King, thereby the name Ram Raja. In Ayodhya he is worshipped in the form of a child, Ram Lala. The Queen accepted all conditions it took her 12 years to return to Orchha. Getting a vision, the King began building a temple. It was not ready by the time the Queen returned and so they temporarily installed Lord Rama in her private apartments. Finally when they tried to relocate the idol of Rama to the temple the idol refused to move. The king recalled the deity's edict that the image would remain in the place where it was first installed. Thus, the King instead of Lord Rama placed the idol of Lord Vishnu, with four arms in the temple. That is how; it got the name of Chaturbhuj. Lotus emblems and symbols of religious importance provide the delicate exterior ornamentation. With its huge pointed shikharas soaring high above the village the temple, in cruciform shape, representing the four-armed Vishnu, with seven stories and spacious courtyards ringed by arched balconies, it epitomizes the Bundelkhand style.

The Ram Raja Mandir, the Queen’s palace-turned-temple, which now has the idol, stands at the end of the small bazaar, in a marble-tiled courtyard. It is also the only temple in India where Ram is worshiped as a king, as per his second edict. This temple is a popular pilgrimage site. During major Rama festivals, thousands of worshippers gather in front of its ornate silver doors to await darshan of the garlanded deity inside. It is believed that according to promise, Lord Rama returns to Ayodhya at night and returns to Orchha in the morning. Worship hours are restricted. The locals believe that Ram is worshipped only as a King in Orchha, the reason why ultimately The Budelas left the town as there can be only one King.  They say, next to Ayodhya this is the most important pilgrimage spot for the hindus.

Laxminarayan Temple

LN Temple
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A flagstone path links the Laxminarayan Temple with the Ram Raja Temple. The style here is a mix of fort and temple architecture. The interiors contain the most exquisite of Orchha's Wall Paintings. On the walls and ceilings of three halls, these murals are vibrant compositions and cover a variety of spiritual and secular subjects.

The structure of the temple is pretty complicated. Viewed from the outside it is triangular in shape. I was informed by the guide that being the Lakshmi temple, it was designed to resemble her vehicle, an owl in flight. Hence viewed from the front the entrance has a bird head with a beak and feathery dome. The two wings forming the triangle are the wings and in the centre at the back is the tail as viewed from the outside, but inside a eight sided tower with a feathery dome.

On the inside is another story altogether! A small arched passage and one has four arched passages viewed in ‘V’ shape on either side, at whichever corner you stand which means you end up a square courtyard on the inside of the building! The passages have beautifully painted ceilings depicting the Ramayana, Mahabharata, life in the times of the Bundela Rulers and the British rule as well. The lower wall panels were done later. Crushed shell formed the plaster which was then covered in red dye. The paintings were etched through the dye. The outer walls are simplistic with carved arches and pillars and only red paintings on the fringes which were done perhaps the same time as the lower panels.

All that remains of the altar is the wooden frame on which hung the swing with the idols of the God and Goddess which were stolen. The rest of the idols were moved to the Ram Raja temple. There is no worship carried out here and the temple is now maintained as a historical monument by the Archeology Department.

One can climb up to the upper floors of the temple and tower and get an exquisite view of Orchha on all side. Canopies and other structures have been added on the upper level.

Temples and Chattris

The Chhatris or Cenotaphs - A solemn row of pale brown weed-choked domes and spires, the riverside Chhatris are Orchha's most melancholy ruins. The fourteen Chhatris, memorials to Bundelkhand's former rulers, are best viewed from the narrow road bridge (on the Betwa) or from the boulders on the opposite bank, where one can see the full effect of their reflection in the still waters of the Betwa. They form a fantastic picture at sunrise or sunset. Hollywood has discovered them and presently the place is being readied for the shooting of a film with velvet curtains being fitted into the arches. I wouldn’t be surprised if cenotaphs are turned into the bedrooms of James Bond! The kings whose remains lie below would definitely wake up to another era!

On the other side of Ram Mandir, a path leads through the Mughal-style Phool Bagh ornamental garden to Hardaul ka Baithak, a grand pavilion where Bir Singh Deo's second son, Hardaul, once held court.

Orchha is quite a photographer's delight. It turns absolutely magnificent during the evenings when the monuments look like silhouettes against the sky. Most of what has to be seen in Orchha lies within a comfortable walking distance.

In 2008, a community radio station, Radio Bundelkhand was launched in Orchha. The radio station broadcasts programs daily in the Bundeli dialect and devotes significant amount of its broadcast time to local issues, culture and rich tradition of Bundeli folk music. The station is available on 90.4 MHz.

There are a couple of nice hotels available for tourists. We stayed at Orchha Resort, by far a great experience.

Source of Information: Tourist information at site and tourism office, guides, people, wikepaedia

Photographs: Taken at site 

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The Palaces

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Temples and Chattris

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LN Temple

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SKINNER’S CHURCH

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The one time in life people definitely remember there’s a God – is when they are dying, or think they are dying. One man surely did. He was James Skinner, who vowed, while lying wounded in the battlefield of Uniara in 1800, to build a Church if he survived. Skinner is also reported to have built a temple and a mosque, though details of them are unknown.

A hop, skip and a jump away from Kashmere Gate and the Metro station and you are there. But asking directions from a Delhi rickshaw wala we were literally taken for a ride and poorer by some rupees when we got there.

The Church, St. James Church, is the oldest church in Delhi, consecrated in the year 1836. It is mentioned in the history of the first struggle for independence, 1857. Designed by Major Robert Smith it was built between 1826-36 to a cruciform plan, with three porticoed porches and a central octagonal dome. It was consecrated on 21 November 1836. It was built at Skinner’s own expense and at a cost of 95,000 Rupees.


The Church has a Cruciform layout, an octagon at the centre, above the pillared octagon rises the eight-leafed dome surmounted by other eight pillars supporting the metal orb and the cross.

James Skinner lies buried in the chancel before the high Altar. At the four corners of the chancel are tablets listing the Commandants of the Regiment that he founded in 1803 as well as the Regiment officers killed in action.

On either side of the high Altar are two magnificent nineteenth century stained glass windows – the Crucifixion and the Ascension. The third is in the vestry – the Resurrection.

The pulpit with its exquisite wood and marble carvings is the rostrum from where the word of God is preached. A velvet lectern-fall with the crest of Skinner’s Horse adorns the pulpit.

The imposing brass lectern shaped like an eagle with the spread out wings is used for reading the Holy Scriptures.

The pipe organ, originally installed in 1899 is the musical instrument used during worship.

The Font inside the west door of the church is used for baptism; carved out of a single block of stone, the designer was Swinton Jacob, an architect associated with modern Jaipur, the capital city of Rajasthan.

On the walls, inside the church are numerous memorial tablets as well as some photographs evoking memories of a bygone era.

The Church garden is the only green spot of any significance in this otherwise congested and busy Kashmere Gate area. On one side of it is a small graveyard, the last resting place of many of Skinner’s family members.

Lying buried, in front of the Church are also two of Delhi’s historic personalities. Thomas Theophilus Metcalf, British Resident in Mughal Emperor’s Court and William Fraser, Agent to the British Governor General in Delhi both good friends of James Skinner.

Next to Fraser’s tomb a large stone cross stands as a memorial to the Martyrs of Delhi.

JAMES SKINNER

James Skinner was an Anglo Indian military adventurer in India, who became known as Sikandar Sahib later in life, and is most known for two cavalry regiments he raised for the British, later known as 1st Skinner's Horse and 3rd Skinner's Horse at Hansi in 1803, which still are a part of the Indian Army.

Skinner was born in 1778 in Calcutta. His father was Lieutenant-Colonel Hercules Skinner, an officer in the East India Company Army of Scottish origin, while his mother was a Rajput princess, daughter of a zaminder she was taken prisoner at the age of fourteen, and came under the care of his father, then an ensign, who treated her with

much regard, and subsequently they had six children, three girls and three boys, David, James and Robert. When he was 12 years old his mother committed suicide, he was first educated at an English school in Calcutta, and then at a boarding school.

He was a fluent writer in Persian, the court and intellectual language of India in his day, and wrote several books in Persian, including "Kitab-i tasrih al-aqvam" (History of the Origin and Distinguishing Marks of the Different Castes of India).

Skinner died at Hansi, Haryana) on 4 December 1841, at the age of 64. He was first buried in the Cantonment Burial Ground at Hansi and later after a period of 40 days, he was disinterred, and his coffin was brought to

Delhi, escorted by 200 men of Skinner’s Horse, subsequently he was buried in Skinner's Church on 19 January 1842 in a vault of white marble immediately below the Communion Table.

It is said that James Skinner had fourteen wives and many children. Many of his family members and their descendants are buried in Skinner's family plot, north of the Church, where he lies buried today.

To get there, the easiest way is to take the metro and get off at the Kashmere Gate station. Out of Gate 1, one is just a couple of yards away from Kashmere Gate or whatever is left of it. Across the road from the Gate, you will see the Church. Just cross over!

KASHMERE GATE

The Kashmere Gate is the northern gate to the historic walled city of Delhi built by Military Engineer Robert Smith in 1835. It was the area around the North gate of the walled city of Delhi, leading to the Red Fort. The gate was facing towards Kashmir, so it was named as Kashmiri Gate.

When Britishers first started settling in Delhi in 1803, they found the walls of the old city, Shahjahanabad lacking repairs, especially after siege by Maratha Holkar in 1804; subsequently they reinforced city's walls. They gradually set up their residential estates in Kashmere Gate area, which once housed Mughal palaces and homes of nobility. The gate next gained national attention during the Mutiny of 1857. Indian soldiers fired volleys of cannon balls from this gate at the British and used the area to assemble for strategizing fighting and resistance.

The British had used the gate to prevent the mutineers from entering the city. Evidence of the struggles is visible today in damages to the existing walls (the damage is presumably cannon ball related). Kashmere Gate was the scene of an important assault by British Army during Indian rebellion of 1857, during which on the morning of September 14, 1857 the bridge and the left leaf of the Gate were destroyed using gunpowder, starting the final assault on the rebels towards the end of Siege of Delhi.

After 1857, the British moved to Civil Lines, and Kashmere Gate became the fashionable and commercial centre of Delhi, a status it lost only after the creation of New Delhi in 1931. In, 1965, a section of the Kashmere Gate was demolished to allow faster movement of vehicular traffic, since then it has become a protected monument by ASI.

Source of information: Wikipedia and Church visitor’s guide.

Photographs: Taken by me during a recent visit to the Church

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