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Photograph - Front of the Mundapam at Secundermalie
  • Front of the Mundapam at Secundermalie
    Tripe, Linnaeus, born 1822 - died 1902
  • Enlarge image

Front of the Mundapam at Secundermalie

  • Object:


  • Place of origin:

    Madurai (photographed)

  • Date:

    January 1858-March 1858 (photographed)
    1860 (published)

  • Artist/Maker:

    Tripe, Linnaeus, born 1822 - died 1902 (photographer)

  • Materials and Techniques:

    Albumen print from waxed paper (calotype) negative

  • Credit Line:

    Given by Lady Denison

  • Museum number:


  • Gallery location:

    In Storage

Linnaeus Tripe (1822-1902) documented much of south India as official photographer to the Madras government (1856-1860). This photograph is taken at a mountain, Secunder Malay, or 'hill of Secunder', about five miles outside of the city of Madura in south India. It shows a munduppum or choultry (pillared hall) decorated with sculptures, part of a larger temple, the Therooparungoonrum Pagoda. The text accompanying the image explains, 'The pillars represented in this plate are fine specimens of the state of Hindu sculpture at the commencement of the 18th century. They are of granite, each pillar consisting of one stone, and the carving is as clear and fresh as if but just finished…' The figure on the steps is possibly Tripe's long-term photographic assistant, C. Iyahsawmy Pillay.

Physical description

This black and white photograph shows a large pillared building with white stone sculpted horses or dragons on each pillar. There is a figure standing on the steps.

Place of Origin

Madurai (photographed)


January 1858-March 1858 (photographed)
1860 (published)


Tripe, Linnaeus, born 1822 - died 1902 (photographer)

Materials and Techniques

Albumen print from waxed paper (calotype) negative


Height: 244 mm photographic print, Width: 364 mm photographic print, Height: 450 mm album page, Width: 574 mm album page

Object history note

This photograph was given by Lady Denison in 1889 during the keepership of Caspar Purdon Clarke, Keeper of the Indian Section of the V&A. It was written off in 1937, and rediscovered and re-evaluated in the 1990s. See Dewan p.456 for listings of other copies elsewhere.
This photograph was published as plate XIII of fourteen in the album Photographs of Madura: Part IV 1858, by 'Captain L. Tripe, Government Photographer', published in 1860. It was taken as part of Tripe's remit as the government photographer, which he himself defined broadly, as recording, ‘before they disappear’ buildings, sculptures and inscriptions…' including the picturesque. This was a model for an extensive survey, including tuition of others and experimentation in his own practice. He was funded by the Madras government, but intended selling additional copies of some prints so that his practice could be self-funding.

This photograph was published with the following text in the letterpress:
'The pillars represented in this plate are fine specimens of the state of Hindu sculpture at the commencement of the 18th century. They are of granite, each pillar consisting of one stone, and the carving is as clear and fresh as if but just finished.
The four figures on the left and right sides of the entrance are representations of the god seated on horseback and in the act of destroying four demons, the daughter and three sons of Kasimuni, by the goddess Maya, who were the bitter enemies of gods and men. In a shrine on the pillar at the right, the god is quietly seated with his enemies under his feet. The second and third figures from the right are combinations of the Yali, a fabulous animals [sic], elephants &c. On the base of the pillars are represented various mythological figures, animals, &c.'

Historical significance: Tripe's photographs of South India are an important body of work within Tripe's oeuvre, and are recognised as being some of the most aesthetically and technically competent images of India made in the 19th century.
Tripe entered his Madura series as part of total of 50 photographs from his 1857–8 tour of South India in the 1859 annual exhibition of the Madras Photographic Society. The jury dubbed his photographs ‘the best in the Exhibition’ but as Tripe could not be classed an amateur, he could not win the gold medal. Tripe declined the silver medal amicably, since he considered that as an official photographer he had an unfair advantage over the other entrants.
Tripe’s photographs were valued for their informational value and their technical quality. The adjudicating committee stated that Tripe’s photographs ‘illustrate admirably the architecture of the Hindoo Temples and Places of Southern India, and in particular the Madura and Tanjore series comprise in this respect all that is most worthy of record in those cities.’ (See Dewan, p.16). Forty-six of Tripe’s 50 exhibited images were made from paper (calotype) negatives, which the committee didn't feel were as successful as dry collodion-on-glass negatives, however, declaring that ‘the superiority of definition given by Collodion [-on-glass] is very visible when placed side by side with them.’ It is thought that Tripe prefered paper to glass negatives due to paper being easier and safer to work with.

Historical context note

The southern districts tour and Madras presidency photographs, 1857–58
The Madras government appointed Tripe as photographer following the 1855 directive from the Court of Directors in London, who discouraged illustration in favour of ‘photography as a means by which representations may be obtained of scenes and buildings, with the advantages of perfect accuracy, small expenditure of time, and moderate cash’, and asked that photography be the main means of recording architecture and antiquities (Dewan, p.6).

As official photographer to the Madras Government, Tripe set off from Bangalore on 14 December 1857 after delays due to waiting for modifications to his new English camera, and his recovery after falling from a horse. He ended his tour in Madras on 30 April 1858 after travelling via Srirangam, Tiruchchirappalli, Madurai, then Pudukkottai, Tanjore, and Tiruchchirappalli again (then called Seeringham, Trichinopoly, Madura, Poodoocottah and Tanjore).

All of these areas had been forcefully taken under British rule in the previous one hundred years, but Tripe looked for scenes or subjects with architectural or antiquarian interest rather than political significance. He had wanted to ensure his images were practical too: before he had set out he had asked the chief engineer for guidance on what would be most useful from an engineering perspective, and incorporated this input into his work.

Descriptive line

Photograph, No. XIII 'Front of the Mundapam at Secundermalie', from the photograph album by Capt. Linnaeus Tripe, 'Photographs of Madura: Part IV', South India, 1858

Bibliographic References (Citation, Note/Abstract, NAL no)

Dewan, Janet. The Photographs of Linnaeus Tripe: A Catalogue Raisonné. Toronto: Art Gallery of Ontario, 2003, p.456.

Production Note

Photographed January, February or March 1858. Edition number unknown. The album of which this photograph is part is one of between 71 and 74 copies.

Attribution note: The V&A has another copy of Tripe's Photographic Views in Madura, parts I to IV (bound) in the National Art Library, pressmark 104.N. The Royal Photographic Society holds the waxed paper negative.
Reason For Production: Commission

Subjects depicted

Pavilion; Horse



Production Type

Limited edition


South & South East Asia Collection

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