CONJECTURAL RESTORATION OF SHANIWARWADA PUNE

PUNE MUNICIPAL CORPORATION

Note by MRS ANJALI KALAMDANI MR KIRAN KALAMDANI PAR

VALUERS INTERIOR DESIGNERS, 1/C-1, ‘SHANTIBAN

CONJECTURAL RESTORATION OF SHANIWARWADA, PUNE

In the history of Conservation of the world there are several instances of reviving a certain period of the past to express t

aspirations of a people. Some of the most prominent among such instances

London 1 and the restoration of the Historic Centre of Warsaw

aspects of build ability, availability of material and constructio

initiative taken in 2002, the Shaniwarwada Executive Committee (under the National Culture Fund) headed by the late Mr B G

Deshmukh (former cabinet secretary) released a CD Rom publica

the places and people around Shaniwarwada from its very early beginnings to the present day. A conjectural virtual computer b

model was generated and made a part of an interactiv

the Warsaa Shop ( a joint venture of the Pune Municipal Corporation and the INTACH Pune Chapter). An architectural scale mode

recreates the form and spaces of the variou

of the Acme Model Studio in Pune). This model is in a half done condition with Mr Raste who has agreed to complete the projec

two months once the project is revived. Space has been given in the Vishrambagwada for the same.

an exact idea of the various buildings and spaces that were a part of the

ARTISTS’ IMPRESSIONS BASED ON DRAWINGS PREPARED BY CONSERVATION ARCHITECTS FOR CONJECTURAL

RESTORATION OF SHANIWARWADA PUNE

PUNE MUNICIPAL CORPORATION, SHIVAJINAGAR, PUNE 411005

HERITAGE CELL

ANJALI KALAMDANI MR KIRAN KALAMDANI PARTNERS ‘KIMAYA’ ARCHITECTS URBAN DESIGNERS CONSERVATIONISTS

SHANTIBAN’ CHINCHWAD, PUNE 411033, TEL 020 27357514; 09850718204

CONJECTURAL RESTORATION OF SHANIWARWADA, PUNE

In the history of Conservation of the world there are several instances of reviving a certain period of the past to express t

aspirations of a people. Some of the most prominent among such instances being the restoration of Shakespear’s Globe Theatre in

Historic Centre of Warsaw2. Such restoration is based on extensive research and several practical

aspects of build ability, availability of material and construction techniques and about not falsifying historic record. As a part of the

2002, the Shaniwarwada Executive Committee (under the National Culture Fund) headed by the late Mr B G

Deshmukh (former cabinet secretary) released a CD Rom publication that contained 112 talking screens on the history that is related to

the places and people around Shaniwarwada from its very early beginnings to the present day. A conjectural virtual computer b

model was generated and made a part of an interactive presentation that was made available for the tourists visiting Shaniwarwada in

the Warsaa Shop ( a joint venture of the Pune Municipal Corporation and the INTACH Pune Chapter). An architectural scale mode

recreates the form and spaces of the various structures inside the wada was also commissioned to a model maker (Mr Ratnakar Raste

of the Acme Model Studio in Pune). This model is in a half done condition with Mr Raste who has agreed to complete the projec

two months once the project is revived. Space has been given in the Vishrambagwada for the same. Once complete the model will give

an exact idea of the various buildings and spaces that were a part of the history of Shaniwarwada.

BASED ON DRAWINGS PREPARED BY CONSERVATION ARCHITECTS FOR CONJECTURAL

RESTORATION OF SHANIWARWADA PUNE

, SHIVAJINAGAR, PUNE 411005

ARCHITECTS URBAN DESIGNERS CONSERVATIONISTS

, TEL 020 27357514; 09850718204; 09881690838

In the history of Conservation of the world there are several instances of reviving a certain period of the past to express the will and

being the restoration of Shakespear’s Globe Theatre in

. Such restoration is based on extensive research and several practical

n techniques and about not falsifying historic record. As a part of the

2002, the Shaniwarwada Executive Committee (under the National Culture Fund) headed by the late Mr B G

tion that contained 112 talking screens on the history that is related to

the places and people around Shaniwarwada from its very early beginnings to the present day. A conjectural virtual computer based

e presentation that was made available for the tourists visiting Shaniwarwada in

the Warsaa Shop ( a joint venture of the Pune Municipal Corporation and the INTACH Pune Chapter). An architectural scale model that

s structures inside the wada was also commissioned to a model maker (Mr Ratnakar Raste

of the Acme Model Studio in Pune). This model is in a half done condition with Mr Raste who has agreed to complete the project within

complete the model will give

BASED ON DRAWINGS PREPARED BY CONSERVATION ARCHITECTS FOR CONJECTURAL




Marathi Miniature painting from Bharat Itihas Samshodhak Mandal


HERITAGE CELL



Miniature painting from Bharat Itihas Samshodhak Mandal



, TEL 020 27357514; 09850718204; 09881690838




REFERENCES

3. The Pune Municipal Corporation gratefully acknowledges the contribution of following persons and institutions for their suppo

1) Indian National Trust for Art and Cultural Heritage (INTACH), New Delhi for their report ‘Revitalizing Environs of Shaniwar Wada, 2) Bharat Itihas Samshodhak Mandal, Pune for various paintings and visuals3) ‘Marathi Riyasat’ by Late Shri. V.K. Rajwade, 4) ‘Shaniwar Wada’ by Late Shri. G.H. Khare, 19505) Pune District Gazetteer Vol. 3, Mumbai, 18856) Map in possession of Shri. Vasant Yashwant Athawale, Shukrawar Peth, Pune, copied from original in possession of Shri. Keshav

Manolikar, Inamdar, Pune, roughly dating to the first half of the 197) ‘Peshwe’ Shriram Sathe, Pune 2013.

4. GLIMPSES OF SHANIWARWADA ACROSS THE AGES

National Culture Fund.


present


HERITAGE CELL



The Pune Municipal Corporation gratefully acknowledges the contribution of following persons and institutions for their suppo

n National Trust for Art and Cultural Heritage (INTACH), New Delhi for their report ‘Revitalizing Environs of Shaniwar Wada, Bharat Itihas Samshodhak Mandal, Pune for various paintings and visuals ‘Marathi Riyasat’ by Late Shri. V.K. Rajwade, Vol. 1 to 6, 1900-1906 ‘Shaniwar Wada’ by Late Shri. G.H. Khare, 1950

Gazetteer Vol. 3, Mumbai, 1885 Map in possession of Shri. Vasant Yashwant Athawale, Shukrawar Peth, Pune, copied from original in possession of Shri. KeshavManolikar, Inamdar, Pune, roughly dating to the first half of the 19th century.

GLIMPSES OF SHANIWARWADA ACROSS THE AGES (text copy of 8 page publication by Pune Municipal Corporation under the


present



, TEL 020 27357514; 09850718204; 09881690838

The Pune Municipal Corporation gratefully acknowledges the contribution of following persons and institutions for their supportive role.

n National Trust for Art and Cultural Heritage (INTACH), New Delhi for their report ‘Revitalizing Environs of Shaniwar Wada, Pune’, 1991.

Map in possession of Shri. Vasant Yashwant Athawale, Shukrawar Peth, Pune, copied from original in possession of Shri. Keshavrao Narayan

(text copy of 8 page publication by Pune Municipal Corporation under the





HERITAGE CELL



INTERIORS OF GANAPATI RANGA MAHAL,

NACHACHA DIWANKHANA AND THE

PUSHKARINI HAUD



, TEL 020 27357514; 09850718204; 09881690838

RANGA MAHAL,

NACHACHA DIWANKHANA AND THE




COMPILED & COMPOSED BY NINAD BEDEKAR & KIRAN KALAMDANI

FOREWORD

Shaniwarwada today represents new hopes, aspirations and attitudes of Puneites towards

their past and their Future. To be able to gracefully live with the past and yet express our

own times is an ideal, which the recent project fo

represents.

On the occasion of the inauguration of the son

Honourable Minister for Culture, Govt. of India, Shri. Ananta Kumar, the Pune Municipal

Corporation has sponsored this souv

past, what it is today and what it will be tomorrow. It is a unique project where several

forces of a resurgent India have converged to open yet another golden chapter in the

history of the country.

Jai Maharashtra! Jai Hind!

Members of the Shaniwarwada Implementation Committee.

Chairman (Shri. B.G.Deshmukh)

Humera Ahmed)

Mayor of Pune (Mr. Dattatray Gaikwad.

Sundke)

Municipal Commissioner. Pune Municipal Corporation (Shri.Ratnakar Gaikwad )

Additional Municipal Commissioner, (Capt. Ashok Deshpande)

Superintending Archaeologist, Archaeological Survey of India (Mr.S.V.Venkateshaiah,)

Shri Ninad Bedekar, Historian and Scriptwriter

Shri. Kiran Kalamdani Architect and life member INTACH

ACKNOWLEDGEMENTS

The Committee gratefully acknowledges the contribution of the following agencies towards

the realization of the project for Revitalizing Environs of Shaniwarwada, Pune.

All members of the Advisory Committee

Private Donors Venkateshwara Hatcheries Ltd.

Times Bank Shri. B. G. Shirke

Associates Promoters and Developers

Architects and Interior Designers

Development Engineer, Development Plan, Mr. Madhav R. Latkar

Mr. Yashwant Khaire Electrical Department Mr. Navgire

Assistant Engineer, Mr. Musale

Khaladkar.

Civil Contractors’ M/s Rajkamal Constructions

M/s Yojana Constructions

Lighting Contractors M/s Mysore Lamps

Naik & Associates

Bharat Itihas Samshodhak Mandal.


HERITAGE CELL






own times is an ideal, which the recent project for ‘Revitalizing Environs of Shaniwarwada’

On the occasion of the inauguration of the son-et-lumiere at the hands of the


Corporation has sponsored this souvenir to elucidate on what Shaniwarwada was in the



Members of the Shaniwarwada Implementation Committee.

Chairman (Shri. B.G.Deshmukh) Member Secretary , National Culture Fund, (Mrs

Mr. Dattatray Gaikwad.) Standing Committee Chairman


onal Municipal Commissioner, (Capt. Ashok Deshpande)


Shri Ninad Bedekar, Historian and Scriptwriter

Shri. Kiran Kalamdani Architect and life member INTACH



All members of the Advisory Committee

Venkateshwara Hatcheries Ltd. Shri. P. P. Chabriya(Finolex Cables Ltd.)

. Shirke Bajaj Trust Amar Builders

Associates Promoters and Developers Naiknaware Associates

Architects and Interior Designers

Development Engineer, Development Plan, Mr. Madhav R. Latkar Garden Superintendent

Electrical Department Mr. Navgire

Assistant Engineer, Mr. Musale Junior Engineers, Mr. Amol Bahadkar, Mr

ivil Contractors’ M/s Rajkamal Constructions M/s Krishna Constructions

M/s Yojana Constructions M/s Mane Constructions

Lighting Contractors M/s Mysore Lamps Fountains Contractors M/s Sandeep




, TEL 020 27357514; 09850718204; 09881690838




r ‘Revitalizing Environs of Shaniwarwada’

lumiere at the hands of the


enir to elucidate on what Shaniwarwada was in the



Member Secretary , National Culture Fund, (Mrs

Standing Committee Chairman (Mr. Anees





. Chabriya(Finolex Cables Ltd.)

Navarang

Rachana

Garden Superintendent

Junior Engineers, Mr. Amol Bahadkar, Mr

M/s Krishna Constructions

M/s Mane Constructions

Fountains Contractors M/s Sandeep




Early Pune and the contribution of Chattrapati Shivajiraje

Pune! Once upon a time a small village situated

on the eastern banks of the rivers Mula and

Mutha. The oldest remains were the ninth century

Pataleshwar rock-cut caves. The village had a

bastioned wall and gates. Kedarves, Kumbharves,

Mavalves were the names of the gates which

guarded the ‘Kasba’ of Pune. Sardar Rairav a

vassal of the Adilshahi Kingdom ransacked Pune

in A.D.1630. The walls and gates were destroyed.

A donkey’s plough was run over houses in the

village, as a stern warning for future settlers. The

prosperous village was plundered and reduced

dust.

A nightlit photograph of Shaniwarwada and a

pen and ink sketch by Milind Mullick


HERITAGE CELL



Early Pune and the contribution of Chattrapati Shivajiraje

upon a time a small village situated

the eastern banks of the rivers Mula and

Mutha. The oldest remains were the ninth century

cut caves. The village had a

bastioned wall and gates. Kedarves, Kumbharves,

Mavalves were the names of the gates which

Sardar Rairav a

vassal of the Adilshahi Kingdom ransacked Pune

in A.D.1630. The walls and gates were destroyed.

A donkey’s plough was run over houses in the

village, as a stern warning for future settlers. The

prosperous village was plundered and reduced to

In A.D.1637 the chequered history of

the place entered a bright phase. Shahajiraje

Bhosale was gifted the Parganas of Pune and

Supa. His wife Jijabai came to Pune from the fort

of Shivneri with her seven

After paying obeisance to the Kasba Ganapati

she ordered Subhedar Dadaji Kondadev to

revitalize the settlement not heeding to the

warning of the donkey’s plough ordered that the

land be ploughed with a golden plough

the hands of young Shivajiraje. This was the

turning point in the history of Pune. The Pune

Municipal Corporation has recently placed a

group-sculpture at Lal Mahal commemorating

this historic event.

Painting of Chattrapati

nightlit photograph of Shaniwarwada and a

pen and ink sketch by Milind Mullick



, TEL 020 27357514; 09850718204; 09881690838

In A.D.1637 the chequered history of

the place entered a bright phase. Shahajiraje

Bhosale was gifted the Parganas of Pune and

Supa. His wife Jijabai came to Pune from the fort

of Shivneri with her seven-year-old son, Shivaji.

sance to the Kasba Ganapati

she ordered Subhedar Dadaji Kondadev to

revitalize the settlement not heeding to the

warning of the donkey’s plough ordered that the

land be ploughed with a golden plough-share at

the hands of young Shivajiraje. This was the

ning point in the history of Pune. The Pune

Municipal Corporation has recently placed a

sculpture at Lal Mahal commemorating

rapati Shivajiraje Bhosale




PESHWE BAJIRAO BALLAL

Life an times of a great warrior and founder of Shaniwar Wada

On the 10th

of January 1730 the Bajirao

Peshwa picked a handful of earth from

the ruins of the revered Lal Mahal and

deposited it while laying the foundation

stone for the Shaniwarwada. He built a

modest two storeyed ‘wada’ around two

courtyards with fountains

which remained the residence and office

of the eight Peshwas who succeeded

him. Bajirao died at Raverkhedi on April

28, 1740. The ‘Tareekh-e-Muhammadi’

has conferred the title of ‘Sahib

Ftuhat-i-Azam’ (great conqueror) on

Bajirao


HERITAGE CELL



Life an times of a great warrior and founder of Shaniwar Wada

Mastani was a beautiful danseuse from the court of Bundelkhand who won

the heart of Bajirao. A Palace was built for her in the northeastern corner

of the Shaniwarwada,

The grandson of Shivaji the Great,

Chhatrapati Shahu handed the pargana of

Pune to his prime minister (Peshwa) Balaji

Vishwanath in 1710 AD. His son and

successor Bajirao I was an extremely

ambitious and able warrior who fought forty

battles without loosing any. In the twenty

years from A.D.1720 he built an empire

which stretched from Chitradurg to Delhi, and

from Baroda to Hyderabad. The fleet

cautious-strategist, swift

know defeat in battle. Field Marshal Robert

Montgomery of the second world war fame in

the ‘Concise History of Warfare’ has this to

say.. ‘The way Bajirao outgeneraled Nizam

ul-Mulk at the battle of Palkhed in A.D.1728

is a masterpiece of strategic mobility.’

photograph of

miniature

painting of

Chatrapati

Shahu Maharaj.

of January 1730 the Bajirao

Peshwa picked a handful of earth from

the ruins of the revered Lal Mahal and

deposited it while laying the foundation

stone for the Shaniwarwada. He built a

modest two storeyed ‘wada’ around two

courtyards with fountains and halls,

which remained the residence and office

of the eight Peshwas who succeeded

him. Bajirao died at Raverkhedi on April

Muhammadi’

has conferred the title of ‘Sahib-i-

Azam’ (great conqueror) on



, TEL 020 27357514; 09850718204; 09881690838

Mastani was a beautiful danseuse from the court of Bundelkhand who won

the heart of Bajirao. A Palace was built for her in the northeastern corner

The grandson of Shivaji the Great,

Chhatrapati Shahu handed the pargana of

Pune to his prime minister (Peshwa) Balaji

shwanath in 1710 AD. His son and

successor Bajirao I was an extremely

ambitious and able warrior who fought forty

battles without loosing any. In the twenty

years from A.D.1720 he built an empire

which stretched from Chitradurg to Delhi, and

o Hyderabad. The fleet-footed,

strategist, swift-attacker did not

know defeat in battle. Field Marshal Robert

Montgomery of the second world war fame in

History of Warfare’ has this to

say.. ‘The way Bajirao outgeneraled Nizam-

at the battle of Palkhed in A.D.1728

is a masterpiece of strategic mobility.’

CAPTION




PESHWA BALAJI BAJIRAO alias

Photograph of Miniature painting of

Nanasaheb Peshwa

Ahmedshah Abdali the emperor of

Afghanistan challenged the supremacy of the

Peshwas at the battle of Panipat in A.D.1761.

The army of Peshwas was ably led by

Sadashivrao Bhau, in the battle of Panipat.

Despite total defeat the Marathas were not

humiliated in this battle. Sadashivrao Bhau

along with, Vishwasrao and Mastanis son

Samsherbahaddar lost their lives with several

thousands of soldiers. It is aid that there was

not a single house in the city of Pune which

was not bereaved for the loss of its kith and

kin. The loss was felt by Nanasaheb Peshwa

who died of shock. The great city builder

breathed his last at the temple of Parvati,

which he had built.


HERITAGE CELL



alias Nanasaheb Peshwa

Miniature painting of

When the third Pesh

was already an important town of the Maratha

Empire. Shaniwarwada and Pun

prosperous. Nansaheb Peshwa completed the

work on the gateways and bastions. Water was

brought to Shaniwarwada from the Katraj lake.

Gardens, fountains, durbars, baths, prayer rooms,

library, cowsheds, stables, armouries, medicine

rooms and jewellery rooms were built. In

A.D.1758 at least twenty important persons from

the Peshwa family were living inside

Shaniwarwada. The town was bustling and alive

with the presence of many important

Moneylenders, Sardars, statesmen. Pune and

obviously Shaniwarwada

capital of the Maratha Empire. Even Delhi was

under the control of the Marathas.

Ahmedshah Abdali the emperor of

Afghanistan challenged the supremacy of the

Peshwas at the battle of Panipat in A.D.1761.

y led by

Sadashivrao Bhau, in the battle of Panipat.

Despite total defeat the Marathas were not

humiliated in this battle. Sadashivrao Bhau

along with, Vishwasrao and Mastanis son

Samsherbahaddar lost their lives with several

aid that there was

not a single house in the city of Pune which

was not bereaved for the loss of its kith and

kin. The loss was felt by Nanasaheb Peshwa

who died of shock. The great city builder

breathed his last at the temple of Parvati,



, TEL 020 27357514; 09850718204; 09881690838

Sadashivrao

Bhauwas one

of the most

handsome

men among

Peshwas who

lost his life in

the battle of

Panipat

hwa succeeded Bajirao, Pune

was already an important town of the Maratha

Empire. Shaniwarwada and Pune were

prosperous. Nansaheb Peshwa completed the

work on the gateways and bastions. Water was

brought to Shaniwarwada from the Katraj lake.

Gardens, fountains, durbars, baths, prayer rooms,

library, cowsheds, stables, armouries, medicine

y rooms were built. In

A.D.1758 at least twenty important persons from

the Peshwa family were living inside

Shaniwarwada. The town was bustling and alive

with the presence of many important

Moneylenders, Sardars, statesmen. Pune and

obviously Shaniwarwada were the unproclaimed

capital of the Maratha Empire. Even Delhi was

under the control of the Marathas.




PESHWA MADHAVRAO BALLAL

The fourth Peshwa Madavrao who was the

next able guardian of the Maratha Empire,

showed exemplary skills in salvaging the

spoils of Panipat. He not only defeated Haider

Ali, but avenged the carnage of Pune by

humiliating the Nizam at the batlle

Rakshasbhuvan. During his regime the

Marathas became a force to be reckoned with

and earned respect even in Delhi. The

Ganapati Ranga Mahal and the ‘Seven Bayed

– seven storeyed’ palace were built in his

time in Shaniwarwada. In an unfortunate turn

of events this young Peshwa died at Theur at

the age of 28 years in A.D.1772 with no

offspring. His wife Rama followed him in

‘sati’.

Letter of Thorle Madhavrao

Peshve to Ramshastri Prabhune 21

March 1766


HERITAGE CELL



PESHWA MADHAVRAO BALLAL alias Thorle Madhavrao

The fourth Peshwa Madavrao who was the

next able guardian of the Maratha Empire,

showed exemplary skills in salvaging the

spoils of Panipat. He not only defeated Haider

Ali, but avenged the carnage of Pune by

humiliating the Nizam at the batlle of

Rakshasbhuvan. During his regime the

Marathas became a force to be reckoned with

and earned respect even in Delhi. The

Ganapati Ranga Mahal and the ‘Seven Bayed

seven storeyed’ palace were built in his

time in Shaniwarwada. In an unfortunate turn

events this young Peshwa died at Theur at

the age of 28 years in A.D.1772 with no

offspring. His wife Rama followed him in

After Madhavrao his younger brother

Narayanrao succeeded him to the

resposibility of the Peshwa. The murder

of Narayanrao Peshwa by his

Uncle,Raghunathrao in A.D.1773 with

help of the Gardis was a shock to the

city. Raghoba Dada the

Bajirao I forcibly became the sixth

Peshwa. The ensuing conspiracy to

implicate the Uncle, Raghoba Dada and

the historic Judgement by Ramshastri

Prabhune is well known as the ‘

Karasthan’. Shortly afterwards the duo

painting of Thorle

painting of Ramshastri

Prabhune

Peshve to Ramshastri Prabhune 21



, TEL 020 27357514; 09850718204; 09881690838

After Madhavrao his younger brother

Narayanrao succeeded him to the

resposibility of the Peshwa. The murder

of Narayanrao Peshwa by his

Uncle,Raghunathrao in A.D.1773 with

help of the Gardis was a shock to the

city. Raghoba Dada the fourth son of

Bajirao I forcibly became the sixth

Peshwa. The ensuing conspiracy to

implicate the Uncle, Raghoba Dada and

the historic Judgement by Ramshastri

Prabhune is well known as the ‘Barbhai

. Shortly afterwards the duo

horle Madhavrao Peshve

painting of Raghoba Dada painting of Ramshastri




PESHWA SAWAI MADHAVRAO

Photograph of Sawaii Madhavrao

Nana Phadanvis was the driving

force behind the resurrection of the

Maratha Empire though very briefly.

The Able general Mahadji Scindia

was responsible for many a victory

as also the celebrated rout of the

British at the battle of Vadgaon, near

Pune. The British, Portuguese,

French, Dutch were by now frequent

visitors at the Shaniwarwada and

have left several accounts of their

experiences. These are useful in

recreating the grandeur of the

yesteryears, as also a reminde

beginning of the end of the Maratha

Empire.


HERITAGE CELL



PESHWA SAWAI MADHAVRAO

After the assassination of Peshwa

Narayanrao, his pregnant wife,

Gangabai was safely moved to

Purandar fort Nana Phadanvis. T

she bore a son who was named

Madhav. He was later known as

Sawai Madhavrao, who adorned the

robes of the Peshwa at the nascent

age of merely forty days! This

Peshwa grew up in Shaniwarwada

under the tutelage and guardianship

of Nana Phadanvis. He had

European Teacher and Nana was a

keen guardian who even built a zoo

at the foothills of Parvati for his

precious ward. The wedding of

Sawaii Madhavrao was celebrated

with great splendour inside the

Shaniwarwada. Nana Phadnavis

built several halls and the

Mirror Hall for this Peshwa.

Nana Phadanvis was the driving

force behind the resurrection of the

Maratha Empire though very briefly.

The Able general Mahadji Scindia

was responsible for many a victory

as also the celebrated rout of the

he battle of Vadgaon, near

Pune. The British, Portuguese,

French, Dutch were by now frequent

visitors at the Shaniwarwada and

have left several accounts of their

experiences. These are useful in

recreating the grandeur of the

yesteryears, as also a reminder of the

beginning of the end of the Maratha

Sketch of Sawai Madhavrao Peshve by a British

Artist

Photograph of Nana Phadanvis



, TEL 020 27357514; 09850718204; 09881690838

After the assassination of Peshwa

Narayanrao, his pregnant wife,

Gangabai was safely moved to

Purandar fort Nana Phadanvis. There

she bore a son who was named

Madhav. He was later known as

Sawai Madhavrao, who adorned the

robes of the Peshwa at the nascent

age of merely forty days! This

Peshwa grew up in Shaniwarwada

under the tutelage and guardianship

of Nana Phadanvis. He had a

European Teacher and Nana was a

keen guardian who even built a zoo

at the foothills of Parvati for his

precious ward. The wedding of

Sawaii Madhavrao was celebrated

with great splendour inside the

Shaniwarwada. Nana Phadnavis

built several halls and the famed

Mirror Hall for this Peshwa.

by a British




THE ‘Ganapati Ranga Mahal’ OF SHANIWAR W

COPY OF POONA DARBAR PAINTING

In the year 1790, on the 1

British Resident at Pune Sir Charles Malet

managed to have a treaty signed between the

Peshwa, the Nizam of Hyderabad and the

East India Company for a conspiracy against

Tipu Sultan. This event has been recorded in

a painting, which is popularly known as the

Poona Darbar. This is the only known record

though of not very great authenticity as it was

painted in England by Robert Mabon (a pupil

of James Wales) and later by the touring duo

of Thomas and William Daniel’s from

sketches made by James Wales who had

attended the meeting.


HERITAGE CELL



OF SHANIWAR WADA

In the year 1790, on the 1st of June the

esident at Pune Sir Charles Malet

managed to have a treaty signed between the

Peshwa, the Nizam of Hyderabad and the

East India Company for a conspiracy against

Tipu Sultan. This event has been recorded in

a painting, which is popularly known as the

Darbar. This is the only known record

though of not very great authenticity as it was

painted in England by Robert Mabon (a pupil

of James Wales) and later by the touring duo

of Thomas and William Daniel’s from

sketches made by James Wales who had

The original painting of size nine feet by

seven feet is the only record of any interior

inside the Shaniwarwada. The figure of Lord

Ganesh, the cypress columns, heavy cur

and mythical themes on the beams are

particularly captivating. Charles Malet

commissioned the painting as it recorded a

positive event in his career. It lay on the

Malet estate called ‘Shargot’ for many years

before it was auctioned at the ‘Christie

London a few years ago. This treaty marked

the beginning of the downfall of the Maratha

Empire as it was now common to drive one

native King against another to score points for

the British Empire.



, TEL 020 27357514; 09850718204; 09881690838

The original painting of size nine feet by

seven feet is the only record of any interior

inside the Shaniwarwada. The figure of Lord

Ganesh, the cypress columns, heavy curtains

and mythical themes on the beams are

particularly captivating. Charles Malet

commissioned the painting as it recorded a

positive event in his career. It lay on the

Malet estate called ‘Shargot’ for many years

before it was auctioned at the ‘Christies’ in

London a few years ago. This treaty marked

the beginning of the downfall of the Maratha

Empire as it was now common to drive one

native King against another to score points for

the British Empire.




PESHWA BAJIRAO II

OLD PHOTOGRAPH SHOWING THE COURT BUILDINGS INSIDE

SHANIWARWADA

PHOTOGRAPH OF VEGETABLE MARKET OUTSIDE

SHANIWARWADA

Having spent the early twenty years of his life in the

house arrest of the Barbhais, Bajirao II assumed the

position of the Peshwa in A.D.1796. He was the son of

the infamous Raghunathrao and spent very little time

at Shaniwarwada. During his regime the British had

captured a large territory and Bajirao was the sole but

lame force against the mighty British Empire. In A.D.

1817 the Shaniwarwada was finally taken over and the

Union Jack was hoisted. Within a year later the fleeing

Bajirao II was captured by the British and exiled to

Bitthur near Kanpur. Thus ended the century old

hegemony of the Peshwas and Shaniwarwada .


HERITAGE CELL



OLD PHOTOGRAPH SHOWING THE COURT BUILDINGS INSIDE

In its final form Shaniwarwada

covered

bastioned walls and five gates. In

all 22 buildings built around 17

coutryards and open spaces

were decorated

fountains and water bodies. The

Dilli Darwaza is till today a

witness of the most graceful

architecture that might have

adorned the spaces inside. There

are traces of paintings of Lord

Ganesh and Vishnu. Several

objects of interest were plac

a museum or ‘

watches, globes, telescopes,

maps and pictures were a

visitor’s delight. The many halls,

fountains, gardens like the

‘Badami Mahal’, ‘Gokak

Diwankhana’, ‘Asmani Mahal’,

PHOTOGRAPH OF VEGETABLE MARKET OUTSIDE

Having spent the early twenty years of his life in the

e Barbhais, Bajirao II assumed the

position of the Peshwa in A.D.1796. He was the son of

the infamous Raghunathrao and spent very little time

at Shaniwarwada. During his regime the British had

captured a large territory and Bajirao was the sole but

rce against the mighty British Empire. In A.D.

1817 the Shaniwarwada was finally taken over and the

Union Jack was hoisted. Within a year later the fleeing

Bajirao II was captured by the British and exiled to

Bitthur near Kanpur. Thus ended the century old

hegemony of the Peshwas and Shaniwarwada .

BajiraoII



, TEL 020 27357514; 09850718204; 09881690838

In its final form Shaniwarwada

covered 5.75 acres with the nine

bastioned walls and five gates. In

all 22 buildings built around 17

coutryards and open spaces

were decorated with fourteen

fountains and water bodies. The

Dilli Darwaza is till today a

witness of the most graceful

architecture that might have

adorned the spaces inside. There

are traces of paintings of Lord

Ganesh and Vishnu. Several

objects of interest were placed in

a museum or ‘Jinnaskhana’ –

watches, globes, telescopes,

maps and pictures were a

visitor’s delight. The many halls,

fountains, gardens like the

‘Badami Mahal’, ‘Gokak

Diwankhana’, ‘Asmani Mahal’,

BajiraoII




SHANIWARWADA AND THE COLONIAL PERIOD

Keys were brought from the constabulary

and the ‘DilliDarwaza’ was opened in

A.D.1817, on the 17th

of November, in the

presence of Henry Robertson, the Collector

of Poona. The ‘Jari Patka’

lowered and the Union Jack was hoisted. The

main offices of the British forces were shifted

to Shaniwarwada. In 1821, the wada was

used as a prison. In A.D.1828 it was finally

burnt down after four unsuccessful previous

attempts. Before this event the main

buildings and woodwork was dismantled and

shifted to Garpir. Major Price writes in

A.D.1791 ‘ The Diwankhana in the

Shaniwarwada is quite spacious and well

appointed. It is very simple. A clean white

muslin was evenly spread on the Musnad

It is only in 1919 that the Excavations

and presentation of rui

systematic manner. Much of what we see

today is a result of this exercise. The Law

Courts which occupied some of the

plinths were removed to make way for

restored plinths and lawns in place of

flooring in the rooms. It was at the

initiative of one Sir.George Lloyd that the

bridge across the wada was built. The

central arch of the bridge emulates the

Dilli Darwaza of Shaniwarwada.


HERITAGE CELL



SHANIWARWADA AND THE COLONIAL PERIOD

DESCRIPTIONS OF BRITISH VISITORS OF

SHANIWARWDA

Several visitors by the names Sir

Charles Malet, Uthoff, Lt. Col. Palmer, Sir

Barry Close, Mountstuart Elphinstone, had

visited the Shaniwarwada. Capt. Moore,

Robert Mabon (the artist), Major Price, Lord

Valentia, Bishop Reginald Hebber, Mary

Graham and Col. Fitz Clarence had the fortune

to see Shaniwar Wada in its splendour and

have penned a number of descriptions of their

visits. These provide an important source for

conjecturally restoring the buildings today.

rought from the constabulary

and the ‘DilliDarwaza’ was opened in

of November, in the

presence of Henry Robertson, the Collector

Jari Patka’ (Maratha flag) was

lowered and the Union Jack was hoisted. The

the British forces were shifted

to Shaniwarwada. In 1821, the wada was

used as a prison. In A.D.1828 it was finally

burnt down after four unsuccessful previous

attempts. Before this event the main

buildings and woodwork was dismantled and

r. Major Price writes in

A.D.1791 ‘ The Diwankhana in the

Shaniwarwada is quite spacious and well

appointed. It is very simple. A clean white

muslin was evenly spread on the Musnad

It is only in 1919 that the Excavations

and presentation of ruins began in

systematic manner. Much of what we see

today is a result of this exercise. The Law

Courts which occupied some of the

plinths were removed to make way for

restored plinths and lawns in place of

flooring in the rooms. It was at the

of one Sir.George Lloyd that the

bridge across the wada was built. The

central arch of the bridge emulates the

Dilli Darwaza of Shaniwarwada.

view from Nagrkhana of interior



, TEL 020 27357514; 09850718204; 09881690838

DESCRIPTIONS OF BRITISH VISITORS OF

Several visitors by the names Sir

Charles Malet, Uthoff, Lt. Col. Palmer, Sir

Barry Close, Mountstuart Elphinstone, had

visited the Shaniwarwada. Capt. Moore,

bon (the artist), Major Price, Lord

Valentia, Bishop Reginald Hebber, Mary

Graham and Col. Fitz Clarence had the fortune

to see Shaniwar Wada in its splendour and

have penned a number of descriptions of their

visits. These provide an important source for

onjecturally restoring the buildings today.

view from Nagrkhana of interior buildings on old plinths.




SHANIWAR WADA IN THE PRE & POST INDEPENDENCE PERIOD

A proposal was mooted and built in 1926 to

set up a war memorial in the memory of the brave

Indian soldiers who fought in the First Worl

the year 1952, shortly after the Indian Independence

there was a comprehensive approach towards the

conservation and presentation of ruins of Shaniwar

wada. A committee comprising of bureaucrats from

the state and local government, local histori

interested citizens was set up under the chairmanship

of Mr.P.M.Lad. Several meetings and discussions led

to a Report which proposed a library and a museum

inside the ramparts as well as beautification of the

open ground to the north of Dilli Darwa

very successful this attempt provided a systemmatic

compilation of a substantial number of records

related to Shaniwarwada. Of special note is the book

entitled ‘Shaniwarwada’ by the late G.H.Khare of the


Vasudev Balwant Phadke Lahuji Vastad


HERITAGE CELL



SHANIWAR WADA IN THE PRE & POST INDEPENDENCE PERIOD

A proposal was mooted and built in 1926 to

set up a war memorial in the memory of the brave

Indian soldiers who fought in the First World War. In

the year 1952, shortly after the Indian Independence

there was a comprehensive approach towards the

conservation and presentation of ruins of Shaniwar-

wada. A committee comprising of bureaucrats from

the state and local government, local historians and

interested citizens was set up under the chairmanship

of Mr.P.M.Lad. Several meetings and discussions led

to a Report which proposed a library and a museum

inside the ramparts as well as beautification of the

open ground to the north of Dilli Darwaza. Though not

very successful this attempt provided a systemmatic

compilation of a substantial number of records

related to Shaniwarwada. Of special note is the book

entitled ‘Shaniwarwada’ by the late G.H.Khare of the


In the struggle for Indepen

the Shaniwarwada remained a

source of inspiration for many

freedom fighters. Revolutionaries

like Vasudev Balwant Phadke and

Lahuji Vastad used the venue of

Shaniwarwada for drills and the

practice of wielding weapons and

firearms. Pune remained at t

forefront of the freedom of

thought with prominent stalwarts

like Lokmanya Tilak, Veer

Savarkar, Acharya Atre and several

others using the presence of

Shaniwarwada to remind the

people of

Maharashtradharma

Independence period

of Shaniwarwada provided a

political platform to all the famous

orators and politicians to air their

views to the people of Pune. One

of the most memorable addresses

in recent times is that given by the

note playwright and humourist

Shri P.L.Des

Lahuji Vastad Lokmanya Tilak



, TEL 020 27357514; 09850718204; 09881690838

In the struggle for Independence

the Shaniwarwada remained a

source of inspiration for many

freedom fighters. Revolutionaries

like Vasudev Balwant Phadke and

Lahuji Vastad used the venue of

Shaniwarwada for drills and the

practice of wielding weapons and

firearms. Pune remained at the

forefront of the freedom of

thought with prominent stalwarts

like Lokmanya Tilak, Veer

Savarkar, Acharya Atre and several

others using the presence of

Shaniwarwada to remind the

people of Swarajya and

Maharashtradharma. In the post

Independence period the venue

of Shaniwarwada provided a

political platform to all the famous

orators and politicians to air their

views to the people of Pune. One

of the most memorable addresses

in recent times is that given by the

note playwright and humourist

Shri P.L.Deshpande in 1975.




SHANIWARWADA TODAY

In March 1991 the Indian

and Cultural Heritage (INTACH) a nationwide NGO

concerned with heritage prepared and handed over a

comprehensive and co-ordinated action plan for

Shaniwar Wada and its surrounding area to the

stakeholders viz. The Archaeological Surv

(ASI), The Maharashtra Tourism and Development

Corporation (MTDC) and the Pune Municipal

Corporation (PMC). Non-

Institutions, Corporate Houses and Industrialists were

identified for aiding the project. Pune

Conservation Architects Anjali and Kiran Kalamdani of

‘KIMAYA’ were responsible for the preparation of the

Perspective Plan commissioned by INTACH (New

Delhi) entitled ‘Revitalizing Environs of Shaniwar

Wada’. A twenty year time period and a project cost

of around Rs. 20 million (Rs.2 Crores) was envisaged.

Few improvements and changes took place

immediately after 1991.

after the action taken in the foreground


HERITAGE CELL



In March 1991 the Indian National Trust for Art

and Cultural Heritage (INTACH) a nationwide NGO

concerned with heritage prepared and handed over a

ordinated action plan for

Shaniwar Wada and its surrounding area to the

stakeholders viz. The Archaeological Survey of India

(ASI), The Maharashtra Tourism and Development

Corporation (MTDC) and the Pune Municipal

-Government Finance

Institutions, Corporate Houses and Industrialists were

identified for aiding the project. Pune - based

on Architects Anjali and Kiran Kalamdani of

‘KIMAYA’ were responsible for the preparation of the

Perspective Plan commissioned by INTACH (New

Delhi) entitled ‘Revitalizing Environs of Shaniwar

Wada’. A twenty year time period and a project cost

s. 20 million (Rs.2 Crores) was envisaged.

Few improvements and changes took place

When Shaniwar Wada was declared as a

Focus Monument for the years 1997

1998 the area was poise

another bright phase in its chequered

history. The Director General of the

Archaeological Survey of India, the late

Shri, Ajai Shanker. undertook bold

initiatives. An advisory committee was

set up in December 1998 under the

chairmanship of Mr. B.

Cabinet Secretary, Government of India.

Consistent and result

of the team has yielded positive results

for the project within a short period of

two years at an expense of

approximately Rs. 2 Crores.

Cultural Fund (NCF) which has brought

various donors and financially aiding

agencies under its fold is a bold initiative

of the Government of India.

sound show (

Shaniwar Wada.

before the action after the action taken in the foreground



, TEL 020 27357514; 09850718204; 09881690838

When Shaniwar Wada was declared as a

Focus Monument for the years 1997 -

1998 the area was poised for yet

another bright phase in its chequered

history. The Director General of the

Archaeological Survey of India, the late

Shri, Ajai Shanker. undertook bold

initiatives. An advisory committee was

set up in December 1998 under the

chairmanship of Mr. B. G. Deshmukh, Ex-

Cabinet Secretary, Government of India.

Consistent and result-oriented working

of the team has yielded positive results

for the project within a short period of

two years at an expense of

approximately Rs. 2 Crores. The National

Fund (NCF) which has brought

various donors and financially aiding

agencies under its fold is a bold initiative

of the Government of India. 1. Light and

sound show (Son-et-Lumiere) inside the

Shaniwar Wada.




PHOTO of the team led by the late Mr B G Deshmukh

premises during one of the visits in 2007

The son-et-lumiere wh

inaugurated at the hands of the Minister

for Culture, Shri. Ananta Kumar, is an

initiative of the Maharashtra Tourism &

Development Corporation (MTDC)

presented in Marathi and English it has

been written by the noted historian Shri.

Ninad Bedekar. Art direction is by Shri.

B.V.Karanth and the lighting design is by

Shri. Taposh Sen. Several noted

personalities of the Marathi and Hindi

stage have contributed by way of their

voices. Vocal music is by Pandit Bhimsen

Joshi, Ravindra Sathe, Sava

Madhuri Purandare. For the first time

several fountains have been revived and

a lively historic ambience has been

created by Sandeep Naik

Pune. The entire effort has been co

ordinated by Mr. B.S.Patil (MTDC) and

the lighting is by Mysore Lamps


HERITAGE CELL



The Pune Municipal Corporation

took the lion’s share of expenses. The

openair theatre opposite the Dilli

Darwaza was completed within a record

time of two months and inaugurated by

the Chief Minister of Maharashtra, Shri.

Vilasrao Deshmukh on January 9,

2000.The recent efforts by the PMC, ASI

& MTDC to launch a comprehensive and

co-ordinated action plan using the

INTACH report as a base paper,

scientific cleaning of the Nagarkhana, the

starting of light and sound show, shifting

of encroachments away from the eastern

wall of the Shaniwarwada are positive

signals of a national monument receiving

its due attention.

PHOTO showing the newly revived fountains

to seat 300 persons behind

led by the late Mr B G Deshmukh in the

lumiere which is being

inaugurated at the hands of the Minister

for Culture, Shri. Ananta Kumar, is an

initiative of the Maharashtra Tourism &

Development Corporation (MTDC). Being

presented in Marathi and English it has

been written by the noted historian Shri.

Bedekar. Art direction is by Shri.

B.V.Karanth and the lighting design is by

Shri. Taposh Sen. Several noted

personalities of the Marathi and Hindi

stage have contributed by way of their

voices. Vocal music is by Pandit Bhimsen

Joshi, Ravindra Sathe, Savani Shende and

For the first time

several fountains have been revived and

a lively historic ambience has been

by Sandeep Naik of the city of

The entire effort has been co-

ordinated by Mr. B.S.Patil (MTDC) and

the lighting is by Mysore Lamps,



, TEL 020 27357514; 09850718204; 09881690838

The Pune Municipal Corporation

took the lion’s share of expenses. The

openair theatre opposite the Dilli

Darwaza was completed within a record

time of two months and inaugurated by

ster of Maharashtra, Shri.

Vilasrao Deshmukh on January 9,

The recent efforts by the PMC, ASI

& MTDC to launch a comprehensive and

ordinated action plan using the

INTACH report as a base paper,

scientific cleaning of the Nagarkhana, the

light and sound show, shifting

of encroachments away from the eastern

wall of the Shaniwarwada are positive

signals of a national monument receiving

newly revived fountains and the gallery

to seat 300 persons behind




The foreground of Shaniwar

Wada is a lively open space within the

heart of the city supporting a range of

activities from children’s play to pol

meetings is now developed as an open

air theatre and the children’s play area.

This would encourage activities like

socio-cultural get

performances of dance, drama, music

and other art forms, to serve as a cultural

dais for the city. During GaneshFestival

2000, Babasaheb Purandare’s mammoth

play ‘Janata Raja’ set the ball rolling for

such performances.

PHOTO OF people sitting around

Mr B G Deshmukh discusses vital details with the team

Nagarkhana


HERITAGE CELL



foreground of Shaniwar

Wada is a lively open space within the

heart of the city supporting a range of

activities from children’s play to political

meetings is now developed as an open-

air theatre and the children’s play area.

This would encourage activities like

cultural get-togethers,

performances of dance, drama, music

and other art forms, to serve as a cultural

ng GaneshFestival-

2000, Babasaheb Purandare’s mammoth

play ‘Janata Raja’ set the ball rolling for

It is evident from the fact

that many people now come here

everyday, enjoy sitting here and

experience the

dignity of the monument; the

Puneites and also visitors have

accepted and appreciated the

change.

PHOTO OF SIZE 3’’ X 3.3’’ of Janata Raja

the wada

Mr B G Deshmukh discusses vital details with the team at the



, TEL 020 27357514; 09850718204; 09881690838

It is evident from the fact

that many people now come here

everyday, enjoy sitting here and

experience the space, respecting the

dignity of the monument; the

Puneites and also visitors have

accepted and appreciated the

PHOTO OF SIZE 3’’ X 3.3’’ of Janata Raja and a school trip to




SHANIWARWADA AND THE FUTURE

The immediate sub-projects that are to be

taken up include:

Better conservation, presentation and

interpretation of the ruins by introducing

interpretive signage

Museum and Cultural Information Centre in

Nana Wada.

The Lal Mahal, Nanawada and other

properties owned by the PMC in the vicinity

of the Shaniwar Wada are being reoriented

towards the goal of Conservation.

Building pedestrian friendly footpaths and

better presentation of the open strips of

land between the bastions of

Shaniwarwada.

.

DRAWING OF THE GANAPATI RANGA MAHAL


HERITAGE CELL



SHANIWARWADA AND THE FUTURE

projects that are to be

Better conservation, presentation and

interpretation of the ruins by introducing

Museum and Cultural Information Centre in

The Lal Mahal, Nanawada and other

rties owned by the PMC in the vicinity

of the Shaniwar Wada are being reoriented

towards the goal of Conservation.

Building pedestrian friendly footpaths and

better presentation of the open strips of

In an effort to recreate the Shaniwarwada as in the

yesteryears and to bring alive the history for the

benefit of tourist and citizens, several initiatives

are underway.

Virtual Shaniwarwada: A conjectural

restoration of the Shaniwar w

undertaken in the form of an architectural

walk-through and walk

visitors through a historical experience of

spaces, meet people and recall events and

visits inside the Shaniwarwada. The visitors

able to take home a compact disc version of

the same and watch it at home on their

personal computers.

Scale Model: A scale model reduced a hundred

times the actual scale is

displayed inside the premises for the visitors

the twenty two buildings

proportionate look-alike miniature model.

DRAWINGS OF THE MAIN PALACE



, TEL 020 27357514; 09850718204; 09881690838

In an effort to recreate the Shaniwarwada as in the

yesteryears and to bring alive the history for the

benefit of tourist and citizens, several initiatives

Virtual Shaniwarwada: A conjectural

restoration of the Shaniwar wada has been

undertaken in the form of an architectural

through and walk-about which takes the

visitors through a historical experience of

spaces, meet people and recall events and

visits inside the Shaniwarwada. The visitors are

home a compact disc version of

the same and watch it at home on their

Scale Model: A scale model reduced a hundred

is being prepared and

e the premises for the visitors. All

the twenty two buildings will be seen in a

alike miniature model.

OF THE MAIN PALACE




A SUCCESSFUL JOINT VENTURE OF THE CENTRAL STATE AND LOCAL GOVERNMENT WITH PRIVATE

INVOLVEMENT OF THE ENTERPRISES AND PEOPLE OF PUNE.

1. Globe Theatre

From Wikipedia, the free encyclopedia


HERITAGE CELL



SUCCESSFUL JOINT VENTURE OF THE CENTRAL STATE AND LOCAL GOVERNMENT WITH PRIVATE

INVOLVEMENT OF THE ENTERPRISES AND PEOPLE OF PUNE.

THE NEWLY BUILT STRUCTURE OF THE

CHIMANABAG TO HOUSE A CONJECTURAL

MODEL OF THE SHAANIWARWAD



, TEL 020 27357514; 09850718204; 09881690838

SUCCESSFUL JOINT VENTURE OF THE CENTRAL STATE AND LOCAL GOVERNMENT WITH PRIVATE

UCTURE OF THE

CHIMANABAG TO HOUSE A CONJECTURAL

MODEL OF THE SHAANIWARWADA




This article is about the Globe Theatre of Shakespeare. For the modern reconstruction in London, see

For other uses, see Globe Theatre (disambiguation)

The Globe Theatre

The second Globe, preliminary sketch (c. 1638) for

London[1]

Address Maiden Lane (now Park Street)

City London

Country England

Coordinates 51.506770°N 0.094678°W

Designation Demolished

Architect Peter Street

Owned by Lord Chamberlain's Men

Capacity 3,000–seated and standing

Type Elizabethan theatre

Opened 1599

Rebuilt 1614

Closed 1642

The Globe Theatre was a theatre in London associated with

Shakespeare's playing company, the Lord Chamberlain's Men

son, Nicholas Brend and grandson Sir Matthew Brend

Theatre was built on the same site by June 1614 and closed in 1642.

A modern reconstruction of the Globe, named "

from the site of the original theatre.[6]

Contents

1 Location

2 History

3 Layout

4 Motto

5 Notes

6 References

7 External links

Location

Examination of old property records has identified the plot of land occupied by the Globe as extending from the west side

of modern-daySouthwark Bridge Road eastwards as far as Porter Street and from Park Street southwards as far as the back

of Gatehouse Square.[7][8]

However, the precise location of the building remained unknown until a small part of the

foundations, including one original pier base, was disc

Park Street.[9]

The shape of the foundations is now replicated on the surface. As the majority of the foundations lies

beneath 67—70 Anchor Terrace, a listed building

History


HERITAGE CELL



This article is about the Globe Theatre of Shakespeare. For the modern reconstruction in London, see

Globe Theatre (disambiguation).

The second Globe, preliminary sketch (c. 1638) forHollar's 1647 Long View of

Maiden Lane (now Park Street)Southwark[2][3]

51.506770°N 0.094678°WCoordinates: 51.506770°N 0.094678°W

Lord Chamberlain's Men

seated and standing

Elizabethan theatre

was a theatre in London associated with William Shakespeare. It was built in 1599 by

Lord Chamberlain's Men, on land owned by Thomas Brend and inherited by his

Sir Matthew Brend, and was destroyed by fire on 29 June 1613.[4]

built on the same site by June 1614 and closed in 1642.[5]

A modern reconstruction of the Globe, named "Shakespeare's Globe", opened in 1997 approximately 750 feet (230


eastwards as far as Porter Street and from Park Street southwards as far as the back


foundations, including one original pier base, was discovered in 1989 beneath the car park at the rear of

of the foundations is now replicated on the surface. As the majority of the foundations lies

listed building, no further excavations have been permitted.[10]



, TEL 020 27357514; 09850718204; 09881690838

This article is about the Globe Theatre of Shakespeare. For the modern reconstruction in London, see Shakespeare's Globe.

. It was built in 1599 by

and inherited by his [4]

A second Globe

", opened in 1997 approximately 750 feet (230 m)


eastwards as far as Porter Street and from Park Street southwards as far as the back


overed in 1989 beneath the car park at the rear of Anchor Terrace on

of the foundations is now replicated on the surface. As the majority of the foundations lies




Second Globe Theatre, detail from Hollar's

later assembled the drawings into thisView

Here the correct label has been restored. The small building to the left supplied food

The Globe Theatre is shown at the bottom centre of thi

Position on modern street plan

Site of the Globe Theatre, from Park Street; the dark line in the centre marks the foundation line. The white wall b

the rear of Anchor Terrace.

The Globe was owned by actors who were also shareholders in

shareholders, Richard Burbage and his brother

other four men, Shakespeare, John Heminges

(Originally William Kempe was intended to be the seventh partner, but he sold out his share to the four minority sharers,


HERITAGE CELL



Second Globe Theatre, detail from Hollar's View of London, 1647. Hollar sketched the building from life (see top), but only

View; he mislabelled his images of The Globe and the nearby

Here the correct label has been restored. The small building to the left supplied food- and ale-sellers at the theatre.

The Globe Theatre is shown at the bottom centre of this London street map[12]

Site of the Globe Theatre, from Park Street; the dark line in the centre marks the foundation line. The white wall b

The Globe was owned by actors who were also shareholders in Lord Chamberlain's Men. Two of the six Globe

and his brother Cuthbert Burbage, owned double shares of the whole, or 25% each; t

John Heminges, Augustine Phillips, andThomas Pope, owned a single share, or 12.5%.

was intended to be the seventh partner, but he sold out his share to the four minority sharers,



, TEL 020 27357514; 09850718204; 09881690838

, 1647. Hollar sketched the building from life (see top), but only

; he mislabelled his images of The Globe and the nearby bear-baiting enclosure.

sellers at the theatre.[1][11]

Site of the Globe Theatre, from Park Street; the dark line in the centre marks the foundation line. The white wall beyond is

. Two of the six Globe

, owned double shares of the whole, or 25% each; the

, owned a single share, or 12.5%.

was intended to be the seventh partner, but he sold out his share to the four minority sharers,




leaving them with more than the originally planned 10%).

were added. Shakespeare's share diminished from 1/8 to 1/14, or roughly 7%, over the course of his career.

The Globe was built in 1599 using timber

father, James Burbage, inShoreditch in 1576. The Burbages originally had a 21

was built but owned the building outright. However, the landlord, Giles Allen, claimed that the building had become his

with the expiry of the lease. On 28 December 15

carpenter Peter Street, supported by the players and their friends, dismantled The Theatre beam

it to Street's waterfront warehouse near

the material was ferried over the Thames

Lane, Southwark. While only a hundred yards from the congested shore of the Thames, the piece of land was situated close

by an area of farmland and open fields.

to flooding at times of particularly high tide; a "wharf" (bank) of raised earth with timber

carry the building above the flood level.

being reused as part of the new structure; t

probably completed by the summer of 1599, possibly in time for the opening production of

reference to the performance crammed within a "wooden O".

September 1599, taking the "wooden O" reference to be disparaging and thus unlikely

staging. He suggests that a Swiss tourist's account of a performance of

describes the more likely first production.

Man out of His Humour—with its first scene welcoming the "gracious and kind spectators"

On 29 June 1613 the Globe Theatre went up in flames during a performance of

during the performance, misfired, igniting the wooden beams and thatching. According to one of the few surviving

documents of the event, no one was hurt except a man whose burning

rebuilt in the following year.

Like all the other theatres in London, the Globe was closed down by the

slightly later—the commonly cited document dating the act to 15 April 1644 has been identified as a probable forgery

make room for tenements.[24]

A modern reconstruction of the theatre, named "

an academic approximation of the original design, based on available evidence of the 1599 a

located approximately 750 feet (230 m) from the site of the original theatre.

Layout

The Globe's actual dimensions are unknown, but its shape and size can be approximated from scholarly inquiry over the

last two centuries.[26]

The evidence suggests that it was a three

(30 m) in diameter that could house up to 3,000

of the building, later incorporated into his etched

uncovering of a small part of the Globe's foundation suggested that it was a polygon of 20

At the base of the stage, there was an area called the

penny, people (the "groundlings") would stand on the rush

excavation of the Globe in 1989 a layer of n

layer.[9]

Vertically around the yard were three levels of stadium

room. A rectangular stage platform, also known as an '

stage measured approximately 43 feet (13.1

the ground. On this stage, there was a trap door

stage.[33]

The back wall of the stage had two or three doors on the main level, with a curtain

not all scholars agree about the existence of this supposed "inner below"),

into the "tiring house"[35]

(backstage area) where the actors dressed and awaited their entrances. The floors above may

have been used to store costumes and props

also be used for scenes requiring an upper sp

stage, although this may only have been used if the setting of the play demanded it.

Large columns on either side of the stage supported a roof over the rear portion of the stage. The ceiling under this roof

was called the "heavens," and was painted with clouds and t

descend using some form of rope and harness.

Motto

The name of the Globe supposedly alludes to the Latin tag

totus mundus exerceat histrionem—"because all

England in the Burbages' time. Totus mundus agit histrionem

theatre's motto. It seems likely, however, that the link between the saying

with the industrious early Shakespeare biographer

he once had access. This was repeated in good faith by his literary executor

"suspicious".[39][40][41]


HERITAGE CELL



leaving them with more than the originally planned 10%).[13]

These initial proportions changed over time as new sharers

were added. Shakespeare's share diminished from 1/8 to 1/14, or roughly 7%, over the course of his career.

timber from an earlier theatre, The Theatre, which had been built by R

in 1576. The Burbages originally had a 21-year lease of the site on which The Theatre


with the expiry of the lease. On 28 December 1598, while Allen was celebrating Christmas at his country home,

, supported by the players and their friends, dismantled The Theatre beam by beam and transported

it to Street's waterfront warehouse near Bridewell.[15]

With the onset of more favourable weather in the following spring,

Thames to reconstruct it as The Globe on some marshy gardens to the south of Maiden

a hundred yards from the congested shore of the Thames, the piece of land was situated close

by an area of farmland and open fields.[16]

It was poorly drained and, notwithstanding its distance from the river, was liable

to flooding at times of particularly high tide; a "wharf" (bank) of raised earth with timber revetments

carry the building above the flood level.[17]

The new theatre was larger than the building it replaced, with the older timbers

being reused as part of the new structure; the Globe was not merely the old Theatre newly set up at Bankside.

summer of 1599, possibly in time for the opening production of Henry V

reference to the performance crammed within a "wooden O".[20]

Dover Wilson, however, defers the opening date until

September 1599, taking the "wooden O" reference to be disparaging and thus unlikely to be used in the Globe's inaugural

staging. He suggests that a Swiss tourist's account of a performance of Julius Caesar witnessed on 21 September 1599

more likely first production.[21]

The first performance for which a firm record remains was

with its first scene welcoming the "gracious and kind spectators"—at the end of the year.

On 29 June 1613 the Globe Theatre went up in flames during a performance of Henry VIII. A theatrical cannon, set off


documents of the event, no one was hurt except a man whose burning breeches were put out with a bottle of ale.

Like all the other theatres in London, the Globe was closed down by the Puritans in 1642. It was pulled down in 1644, or

the commonly cited document dating the act to 15 April 1644 has been identified as a probable forgery

A modern reconstruction of the theatre, named "Shakespeare's Globe", opened in 1997, with a production of

an academic approximation of the original design, based on available evidence of the 1599 and 1614 buildings,

m) from the site of the original theatre.[6]


dence suggests that it was a three-storey, open-air amphitheatre approximately 100 feet

m) in diameter that could house up to 3,000 spectators.[27]

The Globe is shown as round on Wenceslas Hollar

of the building, later incorporated into his etched Long View of London from Bankside in 1647. However, in 1988

uncovering of a small part of the Globe's foundation suggested that it was a polygon of 20 sides.[28]

At the base of the stage, there was an area called the pit,[30]

(or, harking back to the old inn-yards,

penny, people (the "groundlings") would stand on the rush-strewn earthen floor to watch the performance.

excavation of the Globe in 1989 a layer of nutshells was found, pressed into the dirt flooring so as to form a new surface

Vertically around the yard were three levels of stadium-style seats, which were more expensive than standing

, also known as an 'apron stage', thrust out into the middle of the open

stage measured approximately 43 feet (13.1 m) in width, 27 feet (8.2 m) in depth and was raised about 5 feet (1.5

trap door for use by performers to enter from the "cellarage" area beneath the

The back wall of the stage had two or three doors on the main level, with a curtained inner stage in the centre (although

not all scholars agree about the existence of this supposed "inner below"),[34]

and a balcony above it. The doors entered


props and as management offices.[36]

The balcony housed the musicians and could

also be used for scenes requiring an upper space, such as the balcony scene in Romeo and Juliet. Rush matting covered the

stage, although this may only have been used if the setting of the play demanded it.[23]


was called the "heavens," and was painted with clouds and the sky.[37]

A trap door in the heavens enabled performers to

descend using some form of rope and harness.[38]

The name of the Globe supposedly alludes to the Latin tag totus mundus agit histrionem, in turn derived from

"because all the world plays the actor"—from Petronius, which had wide circulation in

Totus mundus agit histrionem was, according to this explanation, therefore adopted as the

theatre's motto. It seems likely, however, that the link between the saying and the Globe was made only later, originating

with the industrious early Shakespeare biographer William Oldys, who claimed as his source a private manuscript to which

access. This was repeated in good faith by his literary executor George Steevens, but the tale is now thought



, TEL 020 27357514; 09850718204; 09881690838

These initial proportions changed over time as new sharers

were added. Shakespeare's share diminished from 1/8 to 1/14, or roughly 7%, over the course of his career.[14]

, which had been built by Richard Burbage's

of the site on which The Theatre


98, while Allen was celebrating Christmas at his country home,

by beam and transported

ble weather in the following spring,

to reconstruct it as The Globe on some marshy gardens to the south of Maiden

a hundred yards from the congested shore of the Thames, the piece of land was situated close

its distance from the river, was liable

revetmentshad to be created to

The new theatre was larger than the building it replaced, with the older timbers

he Globe was not merely the old Theatre newly set up at Bankside.[18][19]

It was

Henry V and its famous

, however, defers the opening date until

to be used in the Globe's inaugural

witnessed on 21 September 1599

The first performance for which a firm record remains was Jonson's Every

at the end of the year.[17][22]

. A theatrical cannon, set off


breeches were put out with a bottle of ale.[23]

It was

in 1642. It was pulled down in 1644, or

the commonly cited document dating the act to 15 April 1644 has been identified as a probable forgery—to

", opened in 1997, with a production of Henry V. It is

nd 1614 buildings,[25]

and is


approximately 100 feet

Wenceslas Hollar's sketch

in 1647. However, in 1988–89, the [28][29]

yard)[31]

where, for a

strewn earthen floor to watch the performance.[32]

During the

utshells was found, pressed into the dirt flooring so as to form a new surface

expensive than standing

he middle of the open-air yard. The

m) in depth and was raised about 5 feet (1.5 m) off

for use by performers to enter from the "cellarage" area beneath the

ed inner stage in the centre (although

and a balcony above it. The doors entered


The balcony housed the musicians and could

. Rush matting covered the


A trap door in the heavens enabled performers to

, in turn derived from quod fere

, which had wide circulation in

was, according to this explanation, therefore adopted as the

and the Globe was made only later, originating

, who claimed as his source a private manuscript to which

, but the tale is now thought




Notes

^ Jump up to:a b Cooper, Tarnya, ed. (2006). "A view from St Mary Overy, Southwark, looking towards Westminster,

c.1638". Searching for Shakespeare. London:

Wilson, Ian (1993). Shakespeare the Evidence

Bowsher and Miller (2009: 87)

Nagler 1958, p. 8.

Encyclopædia Britannica 1998 edition.

Measured using Google earth

Mulryne; Shewring (1997: 69)

Braines, William (1924). The site of the Globe Playhouse Southwark

Stoughton. OCLC 3157657.

Simon McCudden 'The Discovery of The Globe


Bowsher; Miller (2009:112)

Location taken from Bowsher; Miller (2009:107)

Gurr (1991: 45–46)

Schoenbaum, pp. 648–9.

Shapiro, James (2005). 1599—a year in the life of William Shakespeare

0.

Shapiro (2005: 122-3; 129)


Allen's court proceedings against Street and the Burbages noted that the timber from The Theatre was "sett up…in an

other forme" at Bankside. Quoted in Bowsher and Miller (2009: 90)

Adams, John Cranford (1961). The Globe Playhouse. Its design and equipment

Constable. OCLC 556737149.

Bate, Jonathan; Rasmussen, Eric (2007).

230-00350-7.

Dover Wilson, John (1968). The Works of Shakespeare

Cambridge University Press. p. ix. ISBN 0

Stern, Tiffany (2010). "The Globe Theatre and the open

Cambridge, England: Cambridge University Press. p.

^ Jump up to:a b Wotton, Henry (2 July 1613). "Letters of Wotton". In

Wotton Two. Oxford, England: Clarendon Press. pp.


Martin, Douglas. "John Orrell, 68, Historian On New Globe Theater, Dies"

accessed 19 December 2012

Egan, Gabriel (1999). "Reconstructions of The Globe: A Retrospective"

16. doi:10.1017/CCOL0521660742.001.

Orrell, John (1989). "Reconstructing Shakespeare's Globe"

2007.

Mulryne; Shewring (1997: 37; 44)

Egan, Gabriel (2004). "The 1599 Globe and its modern replica: Virtual Reality modelling of the archaeological and pictorial

evidence". Early Modern Literary Studies

Britannica Student: The Theater past to present > Shakespeare and the Elizabethan Theater

Dekker, Thomas (1609), reprinted 1907,

perfect light... though the scarecrows in the yard hoot at you”.

Dekker (1609)

Nagler 1958, pp. 23–24.

Kuritz, Paul (1988). The making of theatre history

from attiring—dressing: "tiring, n.3". Oxford English Dictionary

Bowsher and Miller (2009: 136–137)



Ingleby, Clement Mansfield; Toulmin Smith, Lucy

book : a collection of allusions to Shakespere from 1591 to 1700

Stern, Tiffany (1997). "Was 'Totus mundus agit histrionem' ever the motto of the Globe Theatre?".

Society for Theatre Research) 51 (3): 121.

Egan, Gabriel (2001). "Globe theatre". In Dobson, Michael;

England: Oxford University Press. p. 166.

References


HERITAGE CELL



Cooper, Tarnya, ed. (2006). "A view from St Mary Overy, Southwark, looking towards Westminster,

London: National Portrait Gallery. pp. 92–93. ISBN 978-0-300-

Shakespeare the Evidence. London: Headline. xiii. ISBN 0-7472-0582-5.

The site of the Globe Playhouse Southwark (2 ed.). London: Hodder and

Cudden 'The Discovery of The Globe

Location taken from Bowsher; Miller (2009:107)

a year in the life of William Shakespeare. London: Faber and Faber. p.

ceedings against Street and the Burbages noted that the timber from The Theatre was "sett up…in an

other forme" at Bankside. Quoted in Bowsher and Miller (2009: 90)

The Globe Playhouse. Its design and equipment (2 ed.). London: John

; Rasmussen, Eric (2007). William Shakespeare Complete Works. London: Macmillan. p.

The Works of Shakespeare—Julius Caesar. Cambridge New Shakespeare. Cambrid

0-521-09482-8.

Stern, Tiffany (2010). "The Globe Theatre and the open-air amphitheatres". In Sanders, Julie.Ben Jonson in Contex

Cambridge, England: Cambridge University Press. p. 113. ISBN 0-521-89571-5.

(2 July 1613). "Letters of Wotton". In Smith, Logan Pearsall. The Life and Letters of Sir Henr

. Oxford, England: Clarendon Press. pp. 32–33.

"John Orrell, 68, Historian On New Globe Theater, Dies", The New York Times, 28 September 2003,

"Reconstructions of The Globe: A Retrospective". Shakespeare Survey. Shakespeare Survey

. ISBN 0-521-66074-2. Retrieved 25 July 2007.

"Reconstructing Shakespeare's Globe". History Trails. University of Alberta. Retrieved 10 December

"The 1599 Globe and its modern replica: Virtual Reality modelling of the archaeological and pictorial

Early Modern Literary Studies 13: 5.1–22. ISSN1201-2459. Retrieved 25 July 2007.

Britannica Student: The Theater past to present > Shakespeare and the Elizabethan Theater

(1609), reprinted 1907, ISBN 0-7812-7199-1. The Gull’s Hornbook: “the stage...will bring you to most

perfect light... though the scarecrows in the yard hoot at you”.

The making of theatre history. Englewood Cliffs, N.J: Prentice Hall. pp. 189–191.

Oxford English Dictionary (2 ed.). Oxford, England: Oxford University Press. 1989.

Toulmin Smith, Lucy; Furnival, Frederick (1909). Monro, John, ed.The Shakespere allusion

: a collection of allusions to Shakespere from 1591 to 1700 2. London: Chatto and Windus. p.

Stern, Tiffany (1997). "Was 'Totus mundus agit histrionem' ever the motto of the Globe Theatre?".

(3): 121. ISSN 0040-5523.

Egan, Gabriel (2001). "Globe theatre". In Dobson, Michael; Wells, Stanley. The Oxford Companion to Shakespeare

166. ISBN 978-0-19280614-7.



, TEL 020 27357514; 09850718204; 09881690838

Cooper, Tarnya, ed. (2006). "A view from St Mary Overy, Southwark, looking towards Westminster,

11611-3.

. London: Faber and Faber. p. 7. ISBN 0-571-21480-

ceedings against Street and the Burbages noted that the timber from The Theatre was "sett up…in an

(2 ed.). London: John

. London: Macmillan. p. 1030. ISBN 978-0-

. Cambridge New Shakespeare. Cambridge, England:

Ben Jonson in Context.

The Life and Letters of Sir Henry

, 28 September 2003,

. Shakespeare Survey 52 (1): 1–

. University of Alberta. Retrieved 10 December

"The 1599 Globe and its modern replica: Virtual Reality modelling of the archaeological and pictorial

: “the stage...will bring you to most

191. ISBN 0-13-547861-8.

(2 ed.). Oxford, England: Oxford University Press. 1989.

The Shakespere allusion-

373. OCLC 603995070.

Stern, Tiffany (1997). "Was 'Totus mundus agit histrionem' ever the motto of the Globe Theatre?". Theatre Notebook (The

The Oxford Companion to Shakespeare. Oxford,




BOWSHER, JULIAN; MILLER, PAT (2009). The Rose and the Globe

London. ISBN 978-1-901992-85-4.

GURR, ANDREW (1991). The Shakespearean Stage 1574

42240-X.

MULRYNE, J. R; SHEWRING, MARGARET (1997).

NAGLER, A.M. (1958). Shakespeare's Stage

SCHOENBAUM, SAMUEL (1991). Shakespeare's Lives

External links

Shakespearean Playhouses, by Joseph Quincy Adams, Jr.

Shakespeare's Globe The 1996 reconstruction

A reconstruction of the second Globe The structure of the Globe by extrapolation from Hollar's sketch. University of Sydney.

Comprehensive Guide to Shakespeare's Globe Theatre

Categories:

Buildings and structures completed in 1599


1599 establishments in England

1613 disestablishments

1614 establishments in England

1644 disestablishments

Archaeological sites in London

Former buildings and structures in Southwark

Former theatres in London

Outdoor theatres

Elizabethan era

William Shakespeare

17th-century disestablishments in England

17th century in London

2. Historic Centre of Warsaw

During the Warsaw Uprising in August 1944, more than 85% of Warsaw's historic centre was destroyed by Nazi troops. After the

reconstruction campaign by its citizens resulted in today's meticulous restoration of the Old Town, with its churches, palaces and market

outstanding example of a near-total reconstruction of a span of history covering the 13th to the 20th century.


HERITAGE CELL



The Rose and the Globe – playhouses of Shakespeare's Bankside, Southwark

The Shakespearean Stage 1574–1642. Cambridge: Cambridge University Press Press.

(1997). Shakespeare's Globe Rebuilt. Cambridge University Press.

Shakespeare's Stage. New Haven, CT: Yale University Press. ISBN 0-300-02689

Shakespeare's Lives. Oxford: Clarendon Press. ISBN 0-19-818618-5.

Joseph Quincy Adams, Jr. from Project Gutenberg

The 1996 reconstruction

The structure of the Globe by extrapolation from Hollar's sketch. University of Sydney.

Comprehensive Guide to Shakespeare's Globe Theatre



Former buildings and structures in Southwark

century disestablishments in England

During the Warsaw Uprising in August 1944, more than 85% of Warsaw's historic centre was destroyed by Nazi troops. After the

ts citizens resulted in today's meticulous restoration of the Old Town, with its churches, palaces and market

total reconstruction of a span of history covering the 13th to the 20th century.



, TEL 020 27357514; 09850718204; 09881690838

playhouses of Shakespeare's Bankside, Southwark. Museum of

. Cambridge: Cambridge University Press Press. ISBN 0-521-

ity Press. ISBN 0-521-59988-1.

02689-7.

The structure of the Globe by extrapolation from Hollar's sketch. University of Sydney.

During the Warsaw Uprising in August 1944, more than 85% of Warsaw's historic centre was destroyed by Nazi troops. After the war, a five-year

ts citizens resulted in today's meticulous restoration of the Old Town, with its churches, palaces and market-place. It is an




Statement of Significance

Warsaw was deliberately annihilated in 1944 as a repression of the Polish resistance to the German occupation. The capital ci

the intention of obliterating the centuries-old tradition of Polish statehood. The rebuilding

the determination of the inhabitants and the support of the whole nation. The reconstruction of the Old Town in its historic

the manifestation of the care and attention taken to assure the survival of one of the most important testimonials of Polish culture. The city

elective authority and tolerance, where the first democratic European constitution, the Constitution of 3 May 1791, was adopt

reconstruction included the holistic recreation of the urban plan, together with the Old Town Market, the town houses, the ci

the Royal Castle and important religious buildings. The reconstruction of

related to urbanisation and conservation of urban development in most of the European countries after the destruction of Worl

example illustrates the effectiveness of conservation activities in the second half of the 20th Century, which permitted the integral reconstr

complex urban ensemble.

Criterion (ii): The initiation of comprehensive conservation activities on the scale of the e

to the verification of conservation doctrines and practices.

Criterion (vi): The historic centre of Warsaw is an exceptional example of the comprehensive reconstruction of a city that had

destroyed. The foundation of the material reconstruction was the inner strength and determination of the nation, which brough

the heritage on a unique scale in the history of the world.

Long Description

The reconstruction of the historic centre of Warsaw, associated with events of considerable historic significance, has exerci

the majority of European countries, on the evolution of doctrines of urbanization and the p

Following the insurrection of the inhabitants of Warsaw in August 1944, the Polish capital was annihilated in a reprisal by t

these ruins, between 1945 and 1966, the will of the natio

centre so that it is identical with the original symbolizes the will to ensure the survival of one of the prime settings of P

exemplary fashion, the restoration techniques of the second half of the 20th century. The reconstruction of religious edifice

John, the churches of Our Lady, St James and the Holy Trinity, and the palace, was accompanied b

land allotment and its reconstruction. The example of the market place of the Old City is justifiably famous.

Warsaw Old Town was established in the 13th century. The heart of the area is the Old

was the most important place in Warsaw; regular fairs and festivities were held here. During the Second World War the square

after many years of reconstruction it was restored to its original beauty. Surrounding streets feature old architecture such as the City Walls and the Barbican.

The Cathedral of St John, completed in the 15th century, was originally a parish church and only became a cathedral in 1798.

destroyed but it has been restored to its original Gothic style. The interior of the cathedral features many works of religio

and paintings.


HERITAGE CELL



Warsaw was deliberately annihilated in 1944 as a repression of the Polish resistance to the German occupation. The capital ci

old tradition of Polish statehood. The rebuilding of the historic city, 85% of which was destroyed, was the result of

the determination of the inhabitants and the support of the whole nation. The reconstruction of the Old Town in its historic urban and architectural form was

and attention taken to assure the survival of one of the most important testimonials of Polish culture. The city

elective authority and tolerance, where the first democratic European constitution, the Constitution of 3 May 1791, was adopte

reconstruction included the holistic recreation of the urban plan, together with the Old Town Market, the town houses, the circuit of the city walls, as well as

the Royal Castle and important religious buildings. The reconstruction of Warsaw’s historical centre was a major contributor to the changes in the doctrines

related to urbanisation and conservation of urban development in most of the European countries after the destruction of Worl

es the effectiveness of conservation activities in the second half of the 20th Century, which permitted the integral reconstr

The initiation of comprehensive conservation activities on the scale of the entire historic city was a unique European experience and contributed

to the verification of conservation doctrines and practices.

The historic centre of Warsaw is an exceptional example of the comprehensive reconstruction of a city that had

destroyed. The foundation of the material reconstruction was the inner strength and determination of the nation, which brough

the heritage on a unique scale in the history of the world.

The reconstruction of the historic centre of Warsaw, associated with events of considerable historic significance, has exercised a considerable influence, in

the majority of European countries, on the evolution of doctrines of urbanization and the preservation of older districts of cities.

Following the insurrection of the inhabitants of Warsaw in August 1944, the Polish capital was annihilated in a reprisal by the Nazi occupation troops. From

these ruins, between 1945 and 1966, the will of the nation brought to life again a city of which 85% had been destroyed. The reconstruction of the historic

centre so that it is identical with the original symbolizes the will to ensure the survival of one of the prime settings of Polish culture and illustrates, i

exemplary fashion, the restoration techniques of the second half of the 20th century. The reconstruction of religious edifices such as the Cathedral of St

John, the churches of Our Lady, St James and the Holy Trinity, and the palace, was accompanied by the integral restitution of the urban whole, with its full

land allotment and its reconstruction. The example of the market place of the Old City is justifiably famous.

Warsaw Old Town was established in the 13th century. The heart of the area is the Old Town Market Square: until the end of the 18th century the square

was the most important place in Warsaw; regular fairs and festivities were held here. During the Second World War the square

was restored to its original beauty. Surrounding streets feature old architecture such as the City Walls and the Barbican.

The Cathedral of St John, completed in the 15th century, was originally a parish church and only became a cathedral in 1798.

destroyed but it has been restored to its original Gothic style. The interior of the cathedral features many works of religious art, tombs and various sculptures



, TEL 020 27357514; 09850718204; 09881690838

Warsaw was deliberately annihilated in 1944 as a repression of the Polish resistance to the German occupation. The capital city was reduced to ruins with

of the historic city, 85% of which was destroyed, was the result of

urban and architectural form was

and attention taken to assure the survival of one of the most important testimonials of Polish culture. The city – the symbol of

ed – was rebuilt. The

rcuit of the city walls, as well as

Warsaw’s historical centre was a major contributor to the changes in the doctrines

related to urbanisation and conservation of urban development in most of the European countries after the destruction of World War II. Simultaneously, this

es the effectiveness of conservation activities in the second half of the 20th Century, which permitted the integral reconstruction of the

ntire historic city was a unique European experience and contributed

been deliberately and totally

destroyed. The foundation of the material reconstruction was the inner strength and determination of the nation, which brought about the reconstruction of

sed a considerable influence, in

reservation of older districts of cities.

he Nazi occupation troops. From

n brought to life again a city of which 85% had been destroyed. The reconstruction of the historic

olish culture and illustrates, in an

s such as the Cathedral of St

y the integral restitution of the urban whole, with its full

Town Market Square: until the end of the 18th century the square

was the most important place in Warsaw; regular fairs and festivities were held here. During the Second World War the square was turned into rubble, but

was restored to its original beauty. Surrounding streets feature old architecture such as the City Walls and the Barbican.

The Cathedral of St John, completed in the 15th century, was originally a parish church and only became a cathedral in 1798. During the war it was

us art, tombs and various sculptures




The Royal Castle is a magnificent example of the Baroque style,

Warsaw became the capital of Poland. Between 1598 and 1619 the king had the castle restyled as a polygon by Italian architect

Augustus III converted the east wing into Baroque style, while King Stanislaw Poniatowski added sessions of the Royal Library. The Royal Cas

both a residence for the kings as well as hosting sessions of the Sejm (Polish Parliament). It is now a museum displa

other great works of art. The fascinating interiors of the castle contain many original furnishings, statues, paintings and o

paintings are works by Bernardo Bellotto and Marcello Bacciarelli

Almost every building in the Old Town, a blend of different styles from Gothic to Baroque, is old and of a unique architectur

attractive historic structures are the many churches, the Barbican, the City Walls, Fukier House, Pelic

Source: UNESCO/CLT/WHC

Media

• Historic Centre of Warsaw (UNESCO/NHK)

News

• Message from Francesco Bandarin, UNESCO Assistant Director

2010

Links

• View photos from OUR PLACE the World Heritage col

• Zamek Królewski w Warszawie / Royal Castle in Warsaw

• National Museum in Warsaw

Vis hwasr ao Yas hwant

W1 - R amabai W2 - Yashodabai

7) SAW AI M ADHAVR AO

18/4/1774- 27/10/1795

5) NARAYANRAO

11/8/ 1755-30/8/1773

W - Gangabai

4) MADHAVRAO

16/2/ 1745-8/11/1772

W1 - Radhabai W2 - Gopikabai

3)NANASAHEB

16/12/1721-23/6/1761


HERITAGE CELL



The Royal Castle is a magnificent example of the Baroque style, built in the 14th century. In 1569 King Zygmunt III Waza moved his residence there when

Warsaw became the capital of Poland. Between 1598 and 1619 the king had the castle restyled as a polygon by Italian architect

nverted the east wing into Baroque style, while King Stanislaw Poniatowski added sessions of the Royal Library. The Royal Cas

both a residence for the kings as well as hosting sessions of the Sejm (Polish Parliament). It is now a museum displaying furniture, famous paintings and

other great works of art. The fascinating interiors of the castle contain many original furnishings, statues, paintings and other objets d'art

paintings are works by Bernardo Bellotto and Marcello Bacciarelli.

Almost every building in the Old Town, a blend of different styles from Gothic to Baroque, is old and of a unique architectural style. Among the other

attractive historic structures are the many churches, the Barbican, the City Walls, Fukier House, Pelican House, Pod Blacha Palace and Salvator House.

Historic Centre of Warsaw (UNESCO/NHK)

UNESCO Assistant Director-General for Culture, on floods affecting European World Heritage sites

View photos from OUR PLACE the World Heritage collection

Zamek Królewski w Warszawie / Royal Castle in Warsaw

FAMILY TREE OF PESHWAS

Chimaji Appa/Antaji

W2 - Yashodabai

7) SAW AI M ADHAVR AO

M oreshwar

W2 - Gopikabai

9) BAJIRAO I I

10/1/1775

8) CHIMNAJI

RAGHUNATH

( adopted by Sawai

Madhavrao & Yashodabai)

W2 - Anandibai

6) RAGHUNATHRAO

1/8/1734

R amchandr a

W 1 - Kashibai

W1 - Lalkanwar

2) BAJIRAO I

1700-1740

1) BALAJI VI SHWANATH

1660-1720

W - Radhabai



, TEL 020 27357514; 09850718204; 09881690838

built in the 14th century. In 1569 King Zygmunt III Waza moved his residence there when

Warsaw became the capital of Poland. Between 1598 and 1619 the king had the castle restyled as a polygon by Italian architects. In the 18th century King

nverted the east wing into Baroque style, while King Stanislaw Poniatowski added sessions of the Royal Library. The Royal Castle served as

ying furniture, famous paintings and

objets d'art. Among the

al style. Among the other

an House, Pod Blacha Palace and Salvator House.

General for Culture, on floods affecting European World Heritage sites May 21,

W1 - Lalkanwar

Khushaba Haibats ingh

( Dasi putr a)

W2 - Meherbai

Al i Bahaddar

Samas her Bahaddar

W 2 - Mastani

B hiubai Anubai

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CONJECTURAL RESTORATION OF SHANIWARWADA PUNE

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