KASHMERE GATE

Kashmere gate was the first place where the British settled. The troops encamped inside the city walls as there was a threat to their presence outside from the lawless Gujar tribes.

This was quite unique keeping in mind that they had always dissociated with the walled city in earlier settlements by settling outside. The new settlements were in Kashmere gate and Daryaganj.

Kashmere gate thus had all important residences, religious centres, administrative and judiciary functions as well as public places.

In Kashmere gate evolved an unique hybrid of original Mughal pre-industrial and the European industrial architectural approach.

This was reflected in the transformation and treatment of built form both in terms of plan and aesthetics, the treatment of formal and informal open

spaces, institutions, administrative centres, military requirements of the invaders.

Kashmere gate was hence the nucleus of all colonial development in and around Delhi and thus exhibits clearly the roots of transformation of the city from its Mughal base into an industrialized and westernized settlement.

Many elite and spacious villas, relatively cut off from the densely populated and tightly packed buildings of the remainder of the city came up in kashmere gate.

The first structures that came up were mostly of political and military importance, a small market, hospital, etc. Also came up.

HISTORY

This anglican church was built by col. James skinner and is known as skinners church.

It was completed in 1823, and was consecrated in 1836, by bishop daniel wilson of calcutta.

COL. JAMES SKINNER

Skinner was an officer, of the maratha army under scindia, before he joined the british army in 1803.

He built the church as a notion of thanks giving for narrowly escaping death in a maratha battlefield.

Most of the records of the church were lost during the revolt of 1857 hence little is known about the details of its architect however, circumstantial evidence points to 2w officers of bengal engineers-maj.Robert smith who worked from the foundation to the cornice and and captain.D.Bude, in whose hands were entrusted most of the completion work. The credit for the classicism of the dome could go to captain. De bude.

INFLUENCES AND ANTECEDENTS

This church is a fine example of the colonial classic architecture of the early part of the 19th century. The building is a subtle synthesis of classical and late Mughal styles. Visually the classical look dominates but local influences can be observed on closer examination. -The inner dome soffit floral pattern is a popular late Mughal motif However designed primarily in the classical vocabulary, this building is typical of the first half of the 19th century when classicism was a fashionable expression for newly colonized Delhi and acted as an architectural trend setter.

The curve in the roof is reminiscent of coved Mughal ceilings.

The church was initially painted pink, after which it underwent a series of changes in its exterior colour but at present it has been painted in a soft combination of offwhite and yellow.

The plinth floral pattern is also late Mughal in style

DOME OF ST JAMES CHURCH This domes shape has been assimilated even though it is contradictory to the rules of classical grammar. The designers of the building seem to be well informed of neoclassical style of architecture. Thus have integrated this Florentine dome with the rest of the classical vocabulary The dome is a pointed ribbed dome based on the Florence cathedral which initiated the entire movement of the renaissance. The drum with circular openings also follow the same Contribution of the military building tradition is seen in the sheer strength of construction and details like the foolproof ventilators on the roof The picture of the church before mutiny shows vases, urns etc on the parapet walls. All these qualities make the church very significant in the local sense of Delhi because they embody the culture of the time in which it was built

THE CHURCH COMPLEX

It was set in a ten acre garden. There is a cemetery in the north of the church. The cemetery contained graves of important Delhi citizen and members of Skinners family

Thomas Metcalf's grave is in front of the Parish hall and William Frazer's grave is in front of the church.

At present the church complex consists of the following structures1. Memorial cross 2. Grave of William Frazer 3. Skinners family graveyard closa 4. Grave of Mary & William Forbes 5. Grave of Rev. H. A. Love Day 6. Grave of Elizabeth Mary 7. Pensioners homes 8. Staff Quarters 9. Parish hall 10. Grave of Julia Maria 11. Grave of Thomas T.Metcalfe 12. I.S.P.C.K Building

The I.S.P.C.K building on the west of the church

Cemetry

The parish hall located on the north-east corner of the complex The church Is placed centrally within a large compound and is oriented east-west. The original compound sloped towards the southern side. There are four gates at the four corners of the compound wall with driveways leading to the porticoes. This had a welcoming effect implying the very Christian principle of equally inviting every person to gods home. However this quality was lost by later modifications in 1917 when the roads to the south-east and north-east were filled and the gateways were walled. Today there are two main entrances to the west of the church.

THE CHURCH BUILDING

The church began in 1823,was a centrally planned church, based on a Greek cross plan. It consists of an altar in the eastern end and porticoes at all three other sides. The Greek cross plan was extended on two sides and a pointed Florentine dome surmounted by a heavy lantern covers the central octagonal space. The church was plastered to facilitate a uniform Neoclassical expression, through a two shade colour scheme that differentiated the classical elements from the plain surfaces.

ADDITIONS AND ALTERATIONS During its third decade, (1856-1866) the church underwent numerous changes because of the repairs done on it after the damage caused on it by the Mutiny. -Vestry was shifted from behind the altar to its south. -The space behind the altar was incorporated into the church. -Two stained glass windows (of European origin) were placed behind

the altar and one in the newly built vestry. -In 1909 part of the original lantern supporting the ball and the cross the inner dome. The lantern was later restored. -in 1915 new ceilings were added to each side aisle. -The interior column capitals were gilded with real gold. -in 1938 the lady chapel was consecrated. This later addition explains the lack of a fourth stained glass window. fell though

The East elevation of the church showing the three stained glass windows

ARCHITECTURE OF ST. JAMES CHURCH

The church falls in the category of central churches and the plan follows the form of the Greek cross or has a cruciform layout with an octagon at the center spreading out into the projections which contains -the Altar at the eastern end, -the Ladys chapel besides the altar

-the entrances at the west,north and south

An elongated effect is given to an essential round plan as the three arms of the cross are the porticos and fourth arm has been turned into the foyer.

ARCHITECTURAL ELEMENTS The church exhibits considerable amount of ornamentation and entablature -COLUMNS-

The porticoes have eight columns in all having a Tuscan appearance among which four are frontal columns. These columns are a combination of Tuscan and Doric orders. Their arrangement is known as tetrastyle in classical terminology.

Ionic order

tuscan order

doric order Internal columnsThe internal columns have ionic capitals that are gilded with gold. The columns at the edges of the octagon merge with another set of eight ionic columns.

THE DOME
The dome rests on a high octagonal drum which spans the central space of the church.each side of the drum has a circular opening set within an arched panel.on the norht face this allows access to the space beteween the inner and the outer domes. A composite moulding bands runs over the head of the arches. At the top of the drum circular shaft placed on a pedestal and surmounted by an ionic capital painted gold. This assemblage holds the cornice and the other mouldings over which sits the inner dome. APPEARANCE

The high outer dome of the building, could be seen from many parts of the city and formed a prominent landmark of the city.

A religious building of such a monumental scale was perhaps meant to have a social impact.

SECTION THROUGH DOME

The section through the dome shows the presence of two domes . The higher one is mainly to enhance the height and increase the significance of the church

Due to this reason Sten Nelson quoted It recalls late baroque Italy

THE CHURCH BUILDING TODAY The church as seen today retains its classical late-mughal character both on the exterior as well as in the interiors. The building elements and spaces have been integrated into one consistent expression. EXTERIOR Plinth and foundationEntire building stands on a plain plinth of 70-80 cm height. The plinth and floor are like a large platform with the external walls set in. Four steps lead to the floor level today, originally it were five. At the west portico the original plinth with the inverted floral motif still survives The original church had foundations in rubble masonry . But in later additions, standard English bricks have been used in the foundations.

PorticoesThe church can be entered through porticoes on three sides. Western portico is the main entrance. The tetra-style porticoes are with Tuscan columns with a plain base and capital.

The plinth approximately 800-900 mm high

The western portico main entrance

The southern portico Walls The walls are made of dressed stone laid by lime mortar and is duly plastered and painted. The external walls over the plinth form a large expanse relieved by regular pilasters with equal rhythms. Sitting on a moulded base the pilasters are rectangular in plan and taper to become narrower at the top, where they are surmounted by a capital. The pilasters are high, holding the entablature over which is the parapet.

Niches There are niches of various types found in the exterior wall surfaces External niches are apsoidal, over which are arranged elliptical niches set within a rectangle. Large arched niches appear on the southern wall next to the front portico and on the rear of the chapel where it forms a blind window.

The rear of the church has a comparatively plain facade.

The plain moulding that curves around the openings is very prominent.

Openings- the doors and windows are larger than the standardsizes going up to a height of 3.3m. DOORS

The main entrance door Doors are of two types arched and trabeate. The arched doors have a fixed semicircular fanlight above the normal door. eg. The main entrance door. All the main doors are double shutter doors. -a wooden panel shutter on the inside and a wire mesh shutter on the outside. The other external doors have a wooden louvered shutter on the outside. WINDOWS

The bell tower door with a wooden louvered outside shutter

All windows are semicircular wooden windows with horizontal wooden louvers on them. The semicircular top part of every window has a wooden ventilator They are of an approximate height of about 3m. the windows between the porticoes have different sills from other windows The windows in the chapel are narrower and lack the louvered shutters. THE BELL TOWER It is a square shaped tower (in plan) placed between two porticos, and has been referred to as the clock tower. This could have been a later addition.

Lintel band Mouldings Mouldings have been used to articulate the building form, in the classical tradition. The cornice is the most elaborate, being more like an overhang. Dentils form a major component of the cornice. They successfully articulate the pediment and define the The entablature has a simple angular moulding

The drum and outer dome have-plain band- running at the level above the columns -lintel band-cornice- this 2 ft.long projection runs all around the building.

Stained glass windows

The stained glass windows were put up in the eastern end of the church. Two of these, one, the crucifixion and the other, the ascension are positioned on either side of the altar while the third in the vestry.

It shows the terrified soldiers at Christ's resurrection. Also one of the glass windows was in memory of Col. James Skinner.

ParapetThe column and pilaster rhythms are extended to the parapet, which consciously harmonizes the various elements. It is punctuated by low piers and walls. The in between spaces is filled by balusters. Garlands decorate rectangular portions of plain parapet over which were placed urns earlier.

THE LANTERN The lantern on top of the outer dome is approximately 3m high . It has a very decorative appearance like that of closed or curled petals Placed on the octagonal top.

A view of the entablature supported on the heavy columns very essentially a Greek feature

The Europeans now associated classical forms with what they called the civilized world. The classical for Europeans essentially was Greek and Roman. Hence, the classical architecture of Greece and Rome was strictly bound by certain guidelines which gave a building its proportions.

Proportions were maintained by repeating a standard value arithmetically or multiples of that value in all components.

THE CEILING The ceiling is made of sandstone supported on a series of I-girders stemming out radially from the octagonal dome. There is an insulation gap of about one and a half feet between the roof and the ceiling which helps in maintaining a cool atmosphere inside the church. The sandstone ceiling had circular ventilators at various junctures.

Spatial organization Section through St. James church

Section through the altar

Section through southern and northern porticoes

Section through altar

Interior spaces VestibulesFour arms of the Greek cross plan form the vestibules on the four sides of the church. On three sides they form the entrances, on the eastern side lie the chancel and the altar. Differentiation between the vestibule and the main hall is articulated by means of fluted columns in the eastern and western arms. These columns also help in reducing span for the riveted iron girders which support the roof. ChapelSituated to the north of the altar it is modern in conception with most probably a coffered R.C.C. roof. It has a white marble floor with a grey border. Vestry-It has a flat roof and a terrazo floor.

The Chapel

Octagonal naveThe centre of the building is a octagonal domed space enclosed by semi-circular arches. Each corner is defined by a column with a circular shaft placed on a plain pedestal and surmounted by an Ionic capital. Niches and mouldingsAll internal columns are the classical Ionic type. In the main hall, plain Ionic columns placed on high pedestals mark the eight corners. The transition from the main hall into the sanctuary and the main entrance vestibule is marked by flouted Ionic columns placed on high pedestals.

INTERIORS SeatingThe seating inside the prayer hall(nave) is arranged such that every devotee can see the priest while delivering the sermon in the chancery.

Seating arrangement inside the church

SPECIAL FEATURES IN THE INTERIORS

THE PULPIT- it is the high pedestal on which the priest stands during the prayer.here it is a wooden pedestal with a few steps,heavily carved and decorated

(1)the lectern- it is the reading stand from where the bible is read during the mass.

(2)The font The font is the vessel having holy water.to baptize children etc.

The decorated panel of the pulpit

(3)The pulpit

(4)The pipe organ A special musical instrument very rarely found in Indian churches gifted to the church in 1899

Construction Materials and Technology

Pre-cement age building made of brick masonry and lime. The original church used Mughal brick masonry in lime mortar and finished with lime plaster. These are 75 cm thick. English bricks were used in additions and extensions. These are 60 cm thick. Terracotta has been used in the fabrication of balusters.

Iron reinforcement has been used for the dome and the beams. The dome has iron flats inserted horizontally while I-section beams support the sandstone slabs on the roof. Wrought iron scrolls supported on a framework of riveted iron flats form a part of the lantern.

The original foundation is made up of rubble masonry upto the plinth level, red sandstone has been used as structural material on the roofing and as finish for part of the floor. The rest of the floor is marble. Wood has been used for the dado of the altar and railing of the chancel apart from doors and windows. Glass has been used for the door and window panes. Three windows have stained glass.

Cement has been used in the extensions and additions with traditional whitewash and colour wash as the finishing medium. All woodwork and masonry have been painted with oil based finishes. The dome consists of two shells, the inner and outer shells, making it a double dome. The inner dome is hemispherical and has a circular skylight at the top, around which is a decorative lotus motif. Eight radially arranged walls buttress the inner dome. Church in the twentieth century

A new altar and raredos were erected and consecrated in 1943 to the memory of Raymond Grant Govan, a worshipper, benefactor and a member of the parish council.

The old bell that had cracked was replaced in 1902 by Stanley Skinner. Electric lights and fans were installed for the first time in the church in1911. In 1970 the church boundry wall was taken up for rebuilding over the years as the old wall had been systematically damaged from outside for the value of iron spikes that the masonry contained.

In 1977 the west verandah of the church was renovated and the north verandah was similarly done three years later.

Later on iron grills were provided to the church windows. The stained glass windows were restored on world heritage day in 1996 by lt.Governor of Delhi as the patron of INTACH.

CENTRAL BAPTIST CHURCH

Location plan of the church:

PLAN OF DELHI CITY Chandni Chowk was once lined with beautiful fountains. But today the place is very crowded and congested. Chandni Chowk has the distinction of being perhaps the only trade market that also houses an equally amazing number of places of worship of all the prominent Indian religions. Hinduism, Islam, Sikhism, Christianity and Jainism exist side by sides in the 1.5 km. stretch between Fatehpuri Masjid to Red Fort. Here more than seven Hindu and Jain temples, two Churches, three Mosques and two Gurudwaraas are present. Sri Digambar Jain Lal Mandir: Jama Masjid: Baba Baghel Singh Gauri Shankar temple Sunahari Masjid (Golden Mosque HISTORY The Baptist Missionary Society, London purchased a piece of land in 1792 near Red Fort where the Central Baptist Church was built during the reign of mughal king Alam Shah II. It was used by the local people as a place for worship. But East India Company ordered to demolish it in 1857 due to the mutiny against Britishers. After a great deal of correspondence with the British government, a

compensation of 30000/- and the present piece of land opposite Dariba Kalan was allotted to Baptist Missionary Society for the reconstruction of the church in 1858. In 1860 Baptist Missionary Society reconstructed the church which stands today. It was designed in colonial style influenced by Kolkata and U.K. style of architecture. It is still used as a church with the addition of a primary school in 1973. FEATURES The Central Baptist church is one of the earliest churches in Delhi and a fine example of colonial architecture.

THE SOUTH SIDE has a deep double height colonnaded porch supported on plain thick circular columns. This marks the entrance to the church. The entrance to the church and the octastyle portico in front .

THE ROOF made up of stone on iron beams has been re-laid. The ceiling has barrel vaults spanning across the building. THE EAST & WEST SIDE have double height verandahs with semicircular arched openings .

The semi circular arched openings and the verandah on the side.

There are two skylights, octagonal in shape. Not sufficient light enters through these.

The original height of the roof was 36 feet. But now it stands as 26 feet high roof structure. GREEK REVIVAL STYLE < 1820-1860 > :

Most have porticos (either entry or full-width) supported by prominent square or rounded columns, typically of Doric style, but also Ionic and Corinthian .

Roof of low pitch Front door surrounded by transom lights above. (ancient Greek structures did not use arches)

Window sashes most commonly with six-pane glazing

Most Greek Revival frame houses were painted white.

ARCHITECTURAL ELEMENTS Engaged column - A column attached to, or partly sunk into, a wall of pier. Also called an "applied column" or "attached column."

Columns inside the church are long and slender made of iron and belong to Roman Doric order.

Roman Doric columns usually have bases Roman columns are more slender Channeling (fluting) is altered or omitted

In this church there are two types of columns present belonging to two different orders of classical architecture.

Columns on the outside belong to the Tuscan Order which is the simplest of all the orders characterized by:

Unfluted columns Plain entablatures Unadorned capitals and bases Columns usually widely spaced and of short proportions A simplified Roman Doric.

FEATURES

Barrel vault / Barrel roof:

Pediment

Triglyph

Transom window

Central Baptist Church has an Octastyle portico.

Abacus

Metope

ENTABLATURE

Plan

Reflected ceiling Plan

Elevations

FRONT

SIDE

This presentation was created by: ATAL, BISWAJIT, RAVI, SHISHIR