India // Karnataka //

Maharaja’s Palace

Mysore’s centre is dominated by the walled Maharaja’s Palace, a fairytale spectacle topped with a shining brass-plated dome. It’s especially magnificent on Sunday nights and during festivals, when it is illuminated by nearly 100,000 lightbulbs. It was completed in 1912 for the twenty-fourth Wadiyar raja, on the site of the old wooden palace that had been destroyed by fire in 1897. In 1998, after a lengthy judicial tussle, the courts decided in favour of formally placing the main palace in the hands of the Karnataka state government but the royal family, who still hold a claim, have lodged an appeal which is ongoing. Twelve temples surround the palace, some of them of much earlier origin. Although there are six gates in the perimeter wall, entrance is on the south side only. Shoes and cameras must be left at the cloakroom inside.

An extraordinary amalgam of styles from India and around the world crowds the lavish interior. Entry is through the Gombe Thotti or Dolls’ Pavilion, once a showcase for the figures featured in the city’s lively Dussehra celebrations and now a gallery of European and Indian sculpture and ceremonial objects. Halfway along, the brass Elephant Gate forms the main entrance to the centre of the palace, through which the maharaja would drive to his car park. Decorated with floriate designs, it bears the Mysore royal symbol of a double-headed eagle, now the state emblem. To the north, past the gate, stands a ceremonial wooden elephant howdah. Elaborately decorated with 84kg of 24-carat gold, it appears to be inlaid with red and green gems – in fact the twinkling lights are battery-powered signals that let the mahout know when the maharaja wished to stop or go.

Walls leading into the octagonal Kalyana Mandapa, the royal wedding hall, are lined with a meticulously detailed frieze of oil paintings, executed over a period of fifteen years by four Indian artists, illustrating the great Mysore Dussehra festival of 1930. The hall itself is magnificent, a cavernous space featuring cast-iron pillars from Glasgow, Bohemian chandeliers and multicoloured Belgian stained glass arranged in peacock designs in the domed ceiling.

Climbing a staircase with Italian marble balustrades, past an unnervingly realistic life-size plaster-of-Paris figure of Krishnaraja Wadiyar IV, lounging comfortably with his bejewelled feet on a stool, you come into the Public Durbar Hall, an orientalist fantasy like something from A Thousand and One Nights. A vision of brightly painted and gilded colonnades, open on one side, the massive hall affords views out across the parade ground and gardens to Chamundi Hill. The maharaja gave audience from here, seated on a throne made from 280kg of solid Karnatakan gold. These days, the hall is only used during the Dussehra festival, when it hosts classical concerts. The smaller Private Durbar Hall features especially beautiful stained glass and gold-leaf painting. Before leaving you pass two embossed silver doors – all that remains of the old palace.