Bastion Bungalow

Bastion Bungalow is an architectural splendor, which was built in 1667 by the Portuguese in the Indo - European style. It was constructed on what has been considered the Dutch Stromberg Bastion. This building blends beautifully into the circular structure of the bastion. It has a tiled roof and a typical first floor verandah in wood along its front portion. Noticeable mainly because of its Dutch style architecture and built into the ramparts of a massive fortification wall, it immediately arouses the curiosity of the passer-by. A name plaque on one side of the wall announces that it is the Sub-Collector's residence. It had a brush with glamour when it was hired out to a Hollywood film unit, 'Cotton Mary', which is a Merchant-Ivory production. Bastion Bungalow is located at the end of Church Road in Fort Cochin and it has been declared a protected monument by the State Archaeology Department.

Dutch Palace

Also known as the Mattancherry palace, the Dutch palace with its medieval charm is situated at Palace Road, Mattancherry, hardly 4 Kms from Fort Cochin. Built by the Portuguese and presented to the Raja of Kochi Veera Kerala Varma (1537-65) in 1555 AD, it took on its present popular name 'Dutch Palace' after 1663, when the Dutch carried out some extensions and renovations in the palace. The rajas also made more improvements to it. Today, it is a portrait gallery of the Cochin Rajas and notable for some of the best mythological murals in India, which are in the best traditions of Hindu Temple Art.
The entrance to the Mattancherry Palace compound is through two arches which are typically Portuguese in character and a flight of steps through a portico on the south, gives access to a suite of public rooms on the upper level of the palace. The Palace with two floors built around a central courtyard follows the traditional Kerala style of architecture known as 'nalukettus'. From the outside, the palace looks European in character with scraped masonry walls and round-headed windows and doors but its sloping tiled roof and wooden balconies are indigenous features.
Inside the inner court, there stands a small temple dedicated to 'Pazhayannur Bhagavati', the protective goddess of the Kochi Royal family. Two more temples are situated on either side of the Palace dedicated to Lord Krishna and Lord Siva. The palace, with the interiors panelled with wood has exhibits of the Rajas of Kochi like ceremonial robes, headdresses, weapons, palanquins, furniture but the main feature is the series of astonishing murals, depicting scenes from the Ramayana, the Mahabharata, and the Puranic legends connected with Shiva, Vishnu, Krishna, Kumara, and Durga painted on the walls as well as the portraits of the rajas. The paintings cover a wide range of themes from the 'Puthra Kameshti Yagam' to Rama's return to Ayodya after vanquishing King Ravana of Lanka. The paintings totally cover nearly 1000 sq.ft in area and date from early as the 16th century through mid nineteenth century and are found in the bedchambers on the west side of the palace, in four chambers upstairs, and in two low ceiling rooms that are entered by a steep stairway. These beautiful and extensive paintings are fine examples of Kerala mural paintings best known for its unique style than the technique.
The king's bedchamber or 'Palliyara' left of the entrance occupying the southwest corner of the Palace is noteworthy with its low wooden ceiling and 300 sq feet of wall surface covered in about 48 paintings illustrating the Ramayana, from the beginning of the sacrifice of Dasaratha to Sita's return from captivity in Lanka. These paintings are the earliest in the palace, dating as early as 16th century. The last five scenes are from the 'Krishna Lila' where in a cheerful God Krishna using his six hands and two feet to engage in foreplay with eight happy milkmaids. Another important series of paintings in the Dutch Palace is found in the upper staircase rooms, notably that of the coronation hall that was made under Dutch patronage. Among the compositions are Lakshmi seated on the lotus, sleeping Vishnu (Ananthasayanamurti), Shiva and Parvati seated with Ardhanariswara and other goddesses, the coronation of Rama, Krishna lifting Mount Govardhana etc. On the opposite side of the coronation hall is the staircase room or Kovinithalam (Room No II) , with a descent to the lower storey and four paintings belonging to Shiva, Vishnu and Devi, one incomplete. The ladies chambers below the stairway are closed off to visitors. Room No. IV depict scenes from Kumarasambhavam and other works of the great Sanskrit poet Kalidasa.
The eastern rectangular chambers across the rosewood covered main hall is entered through a steep stairway and an entrance porch with finely carved and painted ceiling. The first of the eastern chambers is marked by fabulous scenes of Vishnu and Siva iconography and just beyond it to the left is a small room with an unfinished but bold image of Vishnu as 'Vaikunthanatha'. These are among the latest works in the palace. The Dining Hall has carved wooden ornate ceiling decorated with a series of brass cups. The palace also contains rare examples of traditional Kerala flooring, which looks like polished black marble but is actually a mixture of burned coconut shells, charcoal, lime, plant juices and egg whites.

Thakur House

Thakur House was earlier known as Kunal or Hill Bungalow. It was built on the site of the sea facing Gelderland Bastion, (one of the seven bastions of the old Dutch fort) in the late 1700s. With graceful lines reflecting the leisurely lifestyle of the colonial era, it exudes a quiet grandeur. Nestled amidst neatly manicured lawns, Thakur House is isolated from the noise and bustle of the nearby Chinese Fishing Nets and Fort Kochi bus stop. Thakur House sports several trademarks of Dutch architecture, with its wooden floors, spacious rooms and large bay windows. Sparkling crystal and earthen pottery adorn tables and shelves, and ancient glass lamps hang from the rafters. It is an art-lover's paradise, for several paintings, decorates the walls of the rooms. But, the most beautiful scenery of all lies right outside the window - the Arabian Sea stretching away to the horizon. There have been instances when it served maritime operations and military defense purposes against invaders. Hence the secret tunnels that lie beneath the house.

To know more about this ancient bungalow that still stands strong on the shores of Fort Cochin click the following link that leads you to a web page that was posted by "The Hindu", a leading news paper in India.

http://www.hindu.com/thehindu/mp/2002/07/01/stories/2002070101030200.htm

The Dutch Cemetery

The 282-year-old Dutch Cemetery in Fort Kochi is considered to be an authentic record of hundreds of Europeans - both the Dutch and the English - who arrived in India to expand their colonial empire. It is the oldest European cemetery in India. Consecrated in 1724, the cemetery has 104 tombs. It is now being looked after by St. Francis CSI Church, Fort Kochi, which has the tomb of Vasco-Da-Gama. Though the cemetery remains closed for most of the day (for fear of anti-social elements entering the place), it is opened on requests made by visitors.
The 104 tombs in the cemetery are a record of prominent Europeans who changed the history of the land. The interest among tourists from Europe to visit the cemetery is so much that constant requests are made to church authorities to open the gates. With passage of time, the layer of plaster over the laterite stones in many of the tombs had withered away. Preventing further destruction of the cemetery, the tombs were replastered with a mix of lime mixture which cost a fortune but helped give the tombs back their old look. As of now, the church shells out money to pull out weeds and ensure the cleanliness of the place.
Tombstones of important personalities buried here have been preserved in the church.
What welcomes visitors to the cemetery which is tucked away behind the end of the walkway running parallel to the beach, is its heavy walls. The original calligraphic inscription `1724' at the entrance pillar has been preserved to date. The unique feature of the tombs is that none of them carry a cross, unlike in modern tombs. Both the big and small tombs resemble the Dutch architecture of the period. The inscriptions on them are in the old Dutch script. A record of persons buried here has been maintained in the church.
Reference has been made to the cemetery in the book St Francis Church, Cochin, by T.W. Venn in 1930. Venn says that the last burial took place in the cemetery in 1913 when Captain Joseph Ethelbert Winckler was laid to rest. The British Cemetery at Veli, which dates back to 1804, too is being managed by the church.

Signal Tower in the Park

An old painting, at the Fort Kochi Corporation office, is perhaps the only surviving, visual evidence of the signal tower that stood at the centre of the Nehru Park, centuries ago
An old watercolour that hangs on the wall of the Fort Kochi Corporation tells the story of what the present day Fort Kochi Square was centuries ago. This one enables the reconstruction of the romantic past riddled by tales of war and peace. It tells the history of trade and treachery, of colonies and churches, of marauders and merchants that Fort Cochin is built on.
The work is signed but illegible and is of course oblivious of the story it tells. Relegated amidst the files, calendars and notice boards of a government office, the surviving painting shows the old signal tower that stood at the centre of what is today the Nehru Park. Reconstructing from chronicles of the past, the area was the hub of all sea-faring activities that brought the traders and the colonists to the shores of Kochi. And so the Portuguese, the Dutch and finally the English left their imprint on the area.
It was a busy signal tower as it communicated with the approaching ships and sent out signals locally too. A basket, a cage, flags, torchlight were all used as signals. A signal was put up when a ship laden with goods was coming. With it the locals knew what was required to board the ship. If coir was to be shipped out they got busy assembling the produce. Likewise for pepper and other spices. It signalled to fishermen about inclement weather or about sickness on board, a passing or approaching ship. This signal tower was brought down and the remains were razed completely much later when the foundation of the park was laid. The three buildings seen in the painting were the port office, the gear shed and the coal shed. In fact, the Chinese fishing net next to the coal shed is called `Karipura'. Opposite the tower was the Old Harbour Hotel, which housed sailors, and officers who alighted. As the signal station had a tower the road was named Tower Road and remains so till today."
The signal station is no more. At the children's park where it once stood, kids play on swings and slides, their laughter filling the air. Fairy lights and fountains come alive in the evenings; hawkers sell, travellers walk around. There is a strange serenity around this rain tree-lined park.
Quite a contrast, for it was here mutinies rose and fell, fearful exchange of fire shots resounded; the troops marched; merchandise was bartered. It was here that an unseen filtering of culture took place many, many years ago. Now all that exists as memory of this landmark is this forgotten painting on the wall of the Corporation office.

Le Colonial

This history house in Fort Cochin is probably Asia’s oldest colonial house dating back to 1506. Standing elegantly adjacent to St. Francis Church, it is reputed to have have been home to Vasco da Gama and the Saint. After 150 years as the Portuguese Governor’s home, it then housed the Dutch Governor Ian vas Spall until it was sold to the British in 1795. They passed it on to J. Thomas, the legendary traders of tea. The 500 years of history contained within its walls have now been restored and embellished with modern comfort. The colonial bungalows here have stood mute witnesses to history for the past 500 since the Portuguese arrived.

Now its occupants will be treated to a fabulous collection of art and artifacts belonging to the French businessman John Persenda, that adorn the walls, shelves and the refurbished settings. From a Cartier Bresson print to etchings, oils, engravings, objects of art and sketches of the colonial times, the theme at Le Colonial will be to reveal the past. So alive come the times of battles fought, of sieges, of surrender, victory and defeat. If you wish for a holiday with art history, it’s right here.The over 200 works, chosen, bought and collected from Western auction houses and from art dealers in New Delhi, Cape Town and Paris, give this seven suite hotel a complete “non-hotel” experience. So romantic is the theme, the collection and the style, so in keeping with the character of the place that as you sit on a wicker chair and sip tea in the verandah, history sits along with you. The present halts and the past unfolds.Essence of the past the rare Daniells catch the spirit of the times just as the military prints once again raise the heat and dust of bloody battles. Yes, the brandishing of swords, the neighing of the horses as they rise on their hind legs, the proud death of Tipu Sultan, the formal signing of a treaty are all there as fabulous prints. The seven suites are named to the theme. The Viceroy suite has sketches depicting the attire of the 1930 Royals, while the flora and fauna of the times, etched by “historical painters” to the “royal highness the Duke and Duchess of York” adorn the ADC room. The Vasco Da Gama suite has a bright, ruddy portrait print of the historic trader and a fantastic sketch of him done by Anjolie Ela Menon (1978). The contrast is superb. A moving engraving, a print from the “Plate representing the Departure of the sons of Tippoo from the zenana, by F. Bartelozzi, engraver to His majesty’s sculptor” is the arresting frame in the Tipu Sultan suite. Another historic moment, Hyder Ali receiving Admiral De Suffren, completes the theme of this room.

A touch of France is given to the Mahe de la Boudonnais room with 18th century French prints which have been with the Persenda family for four generations. (Mr. Persenda’s grandfather was in the artillery in Mesopotamia in 1914.)A portrait of a young Lord Clive dons the anteroom along with a small oil of the young Queen Victoria, four large prints of the surrender of Tipu Sultan’s sons and related works. Portrait prints of Dutch commanders in the Malabar, of the VOC (Vereenigde Oostindische Campagnie: The United Dutch East India Company), all 20 of them, line up the wooden stairway, resplendent in the attire of the times. The staircase foyer is lit up with three exquisite oils: of Queen Victoria, an Indian maharaja beautifully placed on an easel, and a huge work of a warrior holding a horse in front of a fort. Corridors, passages, verandahs and even the rest rooms have paintings of the Raj. Labour of loveTopies, helmets, caps worn by soldiers and a sailor cap with HMS Ganges are also on display and gold bound books on the history of the Dutch in Malabar are there for your reading pleasure. One can see how collating this rare and rich collection has been a labour of love for Mr. Persenda as he narrates an interesting incident about how that sale act of the property, 1795, between the Dutch (Jan Van Spall) and the British (Major Petrie) got misplaced at the framer’s but was finally found!Interesting artifacts like a small statue of an African with his cross and helmet, from the kingdom of Benin, alerts you to the fact that the Portuguese had come to India from Africa. Such historical cues fill the timeless puzzle of the past, the pictures narrate the story in detail and the expressions of the people in the pictures, in a strange sort of way, have something to do with our present.