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1/ This super long #thread outlines the encounter between #Nahungs and the Hungarian painter August Theodor Schoefft, whilst he was painting Harmandir Sahib.
2/ It’s from ’35 Years in the East’ by Johann Martin Honigberger, an Imperial Austrian physician and traveller who was employed by Maharaja Ranjit Singh during the 1820s/30s and saw to Schoefft’s wounds.
3/ You can find out more about Schoefft, Honigberger and so much more in the latest episode of the ਸੋਚ Podcast - Episode #12 - Davinder Singh Toor - Exploring the Toor Collection - https://www.youtube.com/channel/UCEvGY-ZlpAMu99BlgJ6am4Q
4/ “As an instance of the fanaticism of the Nahungs (the robber-pack I have before mentioned), I may relate an occurrence which took place at Umritsir, in which a German friend of mine, Herr August Schofft, was near losing his life by their fury.
5/ This gentleman is an artist of some celebrity (at this time in St. Petersburg), and he, accompanied by his lady, visited the East Indian Presidencies shortly before my severe illness; and having met with great success in consequence of his skill in oil painting, he came to…
6/ …visit me in Lahore.
At this time the court happened to be at Umritsir, and I received an order from Sheer Sing[h] to present myself at that place with my guest.
At this time the court happened to be at Umritsir, and I received an order from Sheer Sing[h] to present myself at that place with my guest.
7/ On our arrival, it happened that one of the principal Sikh priests, named Baii Goormuck Sing[h], was present, and the maharajah desired Herr Schofft to furnish him with a specimen of his abilities, by sketching a portrait of the Baii; which he accordingly did, in pencil,…
8/ …and the likeness was a striking one. The result, was that the maharajah had several of the principal persons of the court sat to him for their portraits, and Herr Schofft accordingly met with great respect and consideration.
9/ I may mention here, that Herr Schofft had kept copies of these portraits, and that on his return to Europe he painted, form these and other sketches which he had taken, a large picture of the Durbar of Lahore, which is considered to be his masterpiece, and which was…
10/ …purchased from him by Louis Phillipe, and is still, I believe, at Paris.
In the centre of the city of Umritsir is a gigantic reservoir of water, from the midst of which rises a magnificent temple, where the Grunth is read day and night.
In the centre of the city of Umritsir is a gigantic reservoir of water, from the midst of which rises a magnificent temple, where the Grunth is read day and night.
11/ Around this sheet of water are the houses of the maharaja, the ministers, sirdars and other wealthy inhabitants. The square itself is called Durbar Saheb.
12/ At the time of Runjeet Sing[h] and Sheer Sing[h], the scene which presented itself at this temple, when the court was at Umritsir, was of the most brilliant description, and at certain periods all the notabilities of the Punjab were to be seen collected together in all the…
13/ …splendour of oriental pageantry.
14/ During our stay at Umritsir it happened that the inhabitants gave an invitation to the court to visit the sacred temple at night time, when it was gorgeously illuminated; and Sheer Sing[h] honoured me with his commands that we should accompany him, sending us a richly…
15/ …caparisoned elephant for our accommodation.
Sheer Sing[h] inquired of my friend, Herr Schofft, if he could take for him a drawing of that brilliant scene.
Sheer Sing[h] inquired of my friend, Herr Schofft, if he could take for him a drawing of that brilliant scene.
16/ He answered in the affirmative, but proposed to the maharajah that it would be better if the scene was sketched under the effect of daylight instead of the imperfect one of the illumination.
He was accordingly ordered to adopt that suggestion.
He was accordingly ordered to adopt that suggestion.
17/ On the following morning we went to the house of the Baii Goormuck Sing[h], who had promised, on the previous evening, to send a servant to point out to us the most elevated terrace in the square (which was in the mansion of Runjeet Sing[h]), from which Herr Schofft could…
18/ …get a view of the temple and the surrounding buildings; on this place he prepared his atelier. He occupied the whole of the day in sketching the scene, and on the following day he also went there, but alone, to continue his work.
19/ About noon, having that morning received some newspaper from my native place, Kronstadt, I went to him, and he desired me to read to him the news whilst he was painting.
20/ About an hour before sunset, his work was nearly finished, and as the court had already departed for Lahore, whither we wished also to proceed immediately, he required me to go to our quarters and to procure some boxes in which he could enclose his paintings.
21/ Our quarters were outside the city, in a garden formerly belonging the prince No-Nehal Sing[h]. When I reached home I immediately forwarded to him a horse and servants, as he had told me he should finish his painting within an hour after I had left him.
22/ Herr Schofft was a great smoker, and attracted attention in Umritsir from his scarcely ever being seen abroad without having a cigar in his mouth.
23/ Now smoking is considered by the Nahungs and the Sikhs as sinful, or rather criminal; more especially in or near such a holy place as their chief sanctuary; Herr Schofft was aware of this, and therefore studiously avoided smoking whilst engaged in taking this sketch.
24/ It happened however, that, is customary with painters, he now and then in the course of the work placed one of his pencils in his mouth, in order to keep it separate from those in the left hand, whilst using another with the right.
25/ This was observed by those who stood watching his operations from beneath the terrace, and they imagined, in consequence, that he was smoking.
26/ The rumour first spread about in whispers one to another, and as the impression became confirmed, a general indignation manifested itself ; and loud exclamations were soon heard, that the feringhee was committing sacrilege by smoking in their sacred place.
27/ The people speedily increased in numbers, and a clamorous mob soon surrounded the palace.
28/ The artist was at first unconscious of the cause of the gathering-, but he soon became aware by their shouts and threats, that he was in some way the object of their fury, and that he was consequently in a dangerous position.
29/ He had no sooner, however, made up his mind that his best policy would be to effect his escape, if possible, unperceived ; when some of the ringleaders of the mob, who had made their way through the palace, rushed upon the terrace, and attempted to seize him.
30/ Being a strong and vigorous man, he succeeded in wrenching himself from their grasp, and made his way to the staircase, which to his dismay he found crowded by the mob, who were making their way up.
31/ Knowing that his only chance lay in breaking through them as quickly as possible, he struck out right and left, and having the advantage of being always uppermost of those who attempted to stay his progress, he succeeded in reaching the bottom with some few bruises, Here,…
32/ …however, the affair presented a still more formidable aspect ; for no sooner had he reached the foot of the staircase, then he was seized by the collar and other parts of his coat by half-a-dozen of the mob, and saw at a little distance the glittering of several of their…
33/ …weapons.
34/ He gave himself up for lost, and in the energy of despair threw open his coat, and taking advantage of a slight confusion at the moment (caused by a struggle to get possession of the gold watch which he had held in his hand and had at the same instant relinquished to…
35/ …them), he slipped from the coat, which was held on all sides, and pushing away those in front of him, he succeeded in reaching the street; here his nether garments fell, in some unaccountable manner, about his feet, and he stumbled and fell into a miry puddle which…
36/ …was immediately before him: he instantly sprang to his feet, and rustled to the entrance of a dark stable close adjacent.
37/ The mob concluded they had now secured their prey, but they were mistaken; for Schofft had, fortunately, whilst passing this stable on a previous occasion in my company, entered it, and noticed its back entrance, which led into the bazaar; through this back door he then…
38/ …gained the bazaar, and from thence (the mob all the way at his heels), reached the house of his protector, Baii Goormukh Sing[h]. The door was immediately shut, and Schofft was saved.
39/ He there met with a kind reception, and on cleansing himself from the mire and blood with which he was covered, it was found that He had not only received several contusions on the head from the iron knobs on the shields of the Nahungs, with which they had struck at him ;…
40/ …but also a sword wound on the back, by which his braces had been cut through, which at once explained to him the cause of his fall into the mire at so critical a moment. The mob not evincing any inclination to disperse, the police interfered, and compelled them to retire.
41/ During all this time I was at home, expecting his arrival every moment ; and at length, when it was quite dark, some of the persons whom I had sent with the horse, came back to me with the news of the riot, and informed me that he was in the hands of the mob.
42/ This filled me with consternation, and I immediately sent to the commander of the fortress (a friend of mine), soliciting him to assist and endeavour to save the unfortunate painter.
43/ With great promptitude, he despatched a whole company of re- gular troops to the city, and on their way they met Schofft on his road home ; he having been disguised in an oriental costume, and sent on horseback accompanied by an escort of police.
44/ My first care was to dress his wound and early on the following morning we left Umritsir for Lahore. I may add that the watch, and the plate, &c., which I had sent with his luncheon, were of course lost; but the painting was subsequently recovered.”
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