the Rajmata’s bedroom really seemed loved and cared for. In a corner was a little silver shrine, full of idols. In front, a line of incense sticks were still smouldering. Every surface in the room was heavily loaded with other pieces of devotional clutter: photographs of Hindu saints and
sadhus
; a pair of Shiva
lingams
and a black mirrorwork image of the boy Krishna playing his flute.
By the bed, somewhat surprisingly, stood a photograph of the Rajmata’s son taken on his wedding day. Despite all the hurt of their disagreements and public wrangling, the Rajmata’s maternal ties still remained strong.
‘Come,’ said Sardar Angre, seeing where my eyes were resting.
He opened the double doors and stepped out on to the balcony. Together we looked out over the long lawns of the garden leading up, past groves of palm trees, to a delicate Moghul pavilion at the end.
Then I noticed that to one side of the palace, a few hundred yards away, lay another, even larger, edifice. Suddenly I realised that the vast building I had just toured was only a small, detached wing – a kind of garden cottage – tucked off to the side of the main bulk of the Jai Vilas Palace. This far larger palace was the home of the Sardar’s enemy, the Maharajah. Like the building we were standing in, it was a late-nineteenth-century construction built in an Italian baroque style: a kind of massive Milanese wedding cake air-dropped in to the jungles of central India.
It was here, in the larger palace, that lay the two most celebrated follies of India’s nineteenth-century Maharajahs. Upstairs glittered the great chandelier, said to be rivalled only by that in the Tsar’s Winter Palace in St Petersburg. So heavy was it that before it was hoisted in to place, a ramp a mile long was built, allowing twelve elephants to climb up on to the roof. Only after it was confirmed that the vaults could indeed bear the weight of all twelve of these massive beasts did the architect feel confident enough to order the chandelier to be raised in to place.
Meanwhile, downstairs in the dining room, the palace’s other great eccentricity was being constructed: a solid silver model railway that took the port around to the Maharajah’s male dinner guests. When a guest lifted the decanter from its carriage, the train would stop until it was replaced. Then it would hoot and shunt its way around the table to the next guest.
Both of these follies, and indeed the entire palace complex, were built for the ill-fated visit of the Prince and Princess of Wales to Gwalior in 1875. Realising that his present palace was ill-suited for entertaining European royalty, the Scindia of the day had given orders that work should begin on the grandest and most modern palace in Asia. A fortune was spent on the new building. In itsnine-hundred-odd rooms gold leaf covered every dado, while solid marble flagged every floor. Everything was to be of the best: a warehouseful of Bruges tapestries, Chippendale chairs and huge Louis XIV mirrors was imported from Europe. Only one thing was lacking: it never occurred to the Maharajah to take the trouble to find a proper architect.
Instead, he turned to a jobbing amateur, and instructed a local Indian Army Colonel to knock something up. Colonel Michael Filose had no formal architectural training – in fact, prior to starting work on Jai Vilas he had worked on only one building: the Gwalior jail. But the Maharajah saw this as no obstacle: he packed Filose off to Paris to see Versailles, instructing him to come back quickly and build something similar in Gwalior before the Prince of Wales arrived.
It is not clear exactly what went wrong, but on the night the Prince of Wales came to stay, the silver train braked suddenly and toppled the port decanter right in to his lap. Later that night there was another disaster. Before she went to bed, the future Queen Alexandra decided to have a bath. As the vast marble tub filled with water, it quivered
sadhus
; a pair of Shiva
lingams
and a black mirrorwork image of the boy Krishna playing his flute.
By the bed, somewhat surprisingly, stood a photograph of the Rajmata’s son taken on his wedding day. Despite all the hurt of their disagreements and public wrangling, the Rajmata’s maternal ties still remained strong.
‘Come,’ said Sardar Angre, seeing where my eyes were resting.
He opened the double doors and stepped out on to the balcony. Together we looked out over the long lawns of the garden leading up, past groves of palm trees, to a delicate Moghul pavilion at the end.
Then I noticed that to one side of the palace, a few hundred yards away, lay another, even larger, edifice. Suddenly I realised that the vast building I had just toured was only a small, detached wing – a kind of garden cottage – tucked off to the side of the main bulk of the Jai Vilas Palace. This far larger palace was the home of the Sardar’s enemy, the Maharajah. Like the building we were standing in, it was a late-nineteenth-century construction built in an Italian baroque style: a kind of massive Milanese wedding cake air-dropped in to the jungles of central India.
It was here, in the larger palace, that lay the two most celebrated follies of India’s nineteenth-century Maharajahs. Upstairs glittered the great chandelier, said to be rivalled only by that in the Tsar’s Winter Palace in St Petersburg. So heavy was it that before it was hoisted in to place, a ramp a mile long was built, allowing twelve elephants to climb up on to the roof. Only after it was confirmed that the vaults could indeed bear the weight of all twelve of these massive beasts did the architect feel confident enough to order the chandelier to be raised in to place.
Meanwhile, downstairs in the dining room, the palace’s other great eccentricity was being constructed: a solid silver model railway that took the port around to the Maharajah’s male dinner guests. When a guest lifted the decanter from its carriage, the train would stop until it was replaced. Then it would hoot and shunt its way around the table to the next guest.
Both of these follies, and indeed the entire palace complex, were built for the ill-fated visit of the Prince and Princess of Wales to Gwalior in 1875. Realising that his present palace was ill-suited for entertaining European royalty, the Scindia of the day had given orders that work should begin on the grandest and most modern palace in Asia. A fortune was spent on the new building. In itsnine-hundred-odd rooms gold leaf covered every dado, while solid marble flagged every floor. Everything was to be of the best: a warehouseful of Bruges tapestries, Chippendale chairs and huge Louis XIV mirrors was imported from Europe. Only one thing was lacking: it never occurred to the Maharajah to take the trouble to find a proper architect.
Instead, he turned to a jobbing amateur, and instructed a local Indian Army Colonel to knock something up. Colonel Michael Filose had no formal architectural training – in fact, prior to starting work on Jai Vilas he had worked on only one building: the Gwalior jail. But the Maharajah saw this as no obstacle: he packed Filose off to Paris to see Versailles, instructing him to come back quickly and build something similar in Gwalior before the Prince of Wales arrived.
It is not clear exactly what went wrong, but on the night the Prince of Wales came to stay, the silver train braked suddenly and toppled the port decanter right in to his lap. Later that night there was another disaster. Before she went to bed, the future Queen Alexandra decided to have a bath. As the vast marble tub filled with water, it quivered
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