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 It would give a feeling as though you are stepping into the time machine to go to a distant past while seeing the pictures of ancient
Madarasapattinam, which lie hanging in the Museum at the secretariat. The Museum building itself is 200-years-old. Built in 1795, it had been a coffee house and a military canteen which would give an idea of the city's historical past. For many of us, who are caught up in the concrete jungles and characteristic traffic jams of today's Chennai, the scene of this city in the 18th and 19th century will surely be a pleasant sight. First to attract our attention is the oldest available map of Madras drawn by Thomas Pitt, the longest serving Governor of Madras, in 1710. Pitt came to Madras as an interloper (an independent trader) in 1660s. He became the Governor in 1698 after settling his difference with East India Company. His 11-year tenure is being described as the emergence of Chennai as a modern city. Although he is much remembered today for procuring a 130 caret rare gem and selling it to France, histrions point out his plans for Madras and his tactful administration were his best legacies.
According to the history books, Pitt's plan of Madras contains almost the same areas which were originally given by a local Naika ruler, to the East India Company's agent Francis Day. Pitt's map brings out a picture of a city almost unidentifiable expecting for a few areas like Egmore. The plan has basically divided the city into Black Town, White Town, and Muthial Peta, (which is the central and north Chennai of today). Even the streets that were marked near Mint and the Parry's area do not seem to offer any connection with the present day. The city, of course, is much smaller than today. The map having the Secretariat as its centre also shows a Hindu temple, which Pitt names as the Great Pagodas. History books say that the temple was demolished and made smaller to make way for the High court.
There are also records of an offer by the company, of lands away from the original sight of this Great Pagoda. The land was given to one Narayana
Iyer, who is also given the task of building a temple and maintaining it. The temple thus in mention is Chenna Kesava Perumal Temple otherwise known as Pattanam Temple. Historical disputes still continue over the actual offers by the company. Some accounts say that there were, in fact, two temples and Chennai Malikeshwarar Temple, which is now in George town was also built on the lands gifted by the company at the same time as Pattanam temple. Pitt's plan has long winding streets, at the |
North of the fort. Prominent among them is James Street, Moore Street, (still in existence). But one that really catches our eye is the great Bazaar Road or the Market Road where the shopping activities must have gone on a heavy and hectic scale.
The plan also has the fortification, which was constructed in Pitt's tenure in 1706. Turning to the other section of these collections of the map, there are paintings of Madras belonging to the later part of the 18th century. These paintings have come from the brushes of a landscape painter - Thomas Daniel, who travelled around India since his arrival in 1750s. Daniel's paintings portrait several features of Chennai city including some of its old buildings and streets. Some of the recognisable landscapes of today are St. Anthony's Church in Parry's Corner and St. Thomas Cathedral. Running like a thin ribbon, in a corner is Mount Road, which must have been a silent place then. The map shows the view of the city from the top of Fort St. George. Amidst the markings of the surrounding villages like
Tyenampet, Red Hills, etc. the painting also shows a distant sight of St. Thomas Mount.
The Northern part of the Fort (presumably Rayapuram and Ennore) are lined up with Domes of several factories and ware houses, where much of the business activities of the company went in full swing. Although both Pitt and Daniel's landscapes points out these factories, Lord Clive's Battery in Washermenpet area marked by Pitt, is still a landmark in that area. Textile factories run by the company sent their clothes for dying and drying to this area and thus it bears the name today. The Gallery also contains elegant sight of Fort St. George, facing up to the open sea with all its defenses. There also pictures showing merchants of the company arriving and departing from the city, a rare feast to the visitors eyes. Daniel has also left behind pictures of small town sights like the Temple of Madurai and the Rock fort of Trichi. A small note hanging outside the gallery says that Thomas Daniel made a fortune by reproducing these paintings in a book titled The Oriental Scenery, which he published in 1808. He has also made several copies from the etchings; a process through which a brass master copy is created and subsequently replicated in paper by pressing it hard on the brass master. But for the paintings, today's Chennai citizens would have had no idea of how their city looked like two centuries ago. Thanks also to the former rulers who have returned these pictures to its right place.
L. Subramani
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