Unlike the open-air crosses we discussed so far, the Kanjoor cross has a very small foundation. The pedestal consists of a circular top followed by a few successive square layers. Today, portions of the bottom layer of the pedestal can be seen partially hidden under the soil (see especially the south-west corner), probably as a result after the land was filled and raised over time. To get a view of the more complete pedestal, go through some of the early black and white photographs attached below. The base of the cross, which is the uppermost round layer of the pedestal is carved in the form of a fluted lotus, done with such perfection that it is hard to believe that the work is indeed in granite. Equally impressive is the design at the intersection point of the upper arms of the cross on the west side (see the inset in the corresponding photograph attached), which even caught the attention of Henry Hosten in 1924. The upright pole and cross beam of the cross have finely carved tapering ends, but there are no inscriptions on the body. James (1979, p. 68) in his thesis on ‘The Thomas Christian Architecture of Malabar’ has addressed the importance of the Kanjoor pedestal, and to quote the text; “The cross has only a very moderate base of 1.5 m in diameter. But, it is beautifully carved out in the form of a fluted lotus with prominent petals. The workmen concentrated more on beauty and simplicity than on solidity and strength. The fluted lotus carved out on the base of the cross is similar to the bell-shaped capital of many a Buddhist stambha. The reason for stone workers to go in for such a simple and compact structure with great beauty is unknown. When compared with the fluted lotus on the base of the Angamaly cross, the perfection attainted by the one at Kanjoor becomes highly significant”.
History, Age and Size
One of the earliest documented reference to the Kanjoor cross is from Rev. Henry Hosten, who visited the church in 15-16 February, 1924 (see Tanima, 2008, pp. 29-30). Hosten observes the open-air cross before the entrance gate to the church grounds and records the small cross at the junction of the two beams of the cross, and on the left of the cross, on the ground an alms box, surmounted by a small cross and provided with a 'Chinese padlock. Note that an old alms box made of stone still survives next to the cross. He was particularly impressed with the gatehouse (Padippura) of Kanjoor, especially the wooden structure over the entrance gate. In fact, he even compares them to the gates of cities mentioned in the Old Testament! The gate house has been rebuilt at least twice in the 20th century itself as evident from the photographs (see old photos below)
One of the earliest documented reference to the Kanjoor cross is from Rev. Henry Hosten, who visited the church in 15-16 February, 1924 (see Tanima, 2008, pp. 29-30). Hosten observes the open-air cross before the entrance gate to the church grounds and records the small cross at the junction of the two beams of the cross, and on the left of the cross, on the ground an alms box, surmounted by a small cross and provided with a 'Chinese padlock. Note that an old alms box made of stone still survives next to the cross. He was particularly impressed with the gatehouse (Padippura) of Kanjoor, especially the wooden structure over the entrance gate. In fact, he even compares them to the gates of cities mentioned in the Old Testament! The gate house has been rebuilt at least twice in the 20th century itself as evident from the photographs (see old photos below)
The traditional date for Kanjoor church is 1001 A.D. The first church is said to be a humble palm-leaf thatched building located in the site where the modern cemetery is located, that is, south of the existing church. The establishment of the church is attributed to the efforts of a woman named Thekkumbhagathu Valiyaveettil Elishwa. The current church is believed to be established in the year 1403 and it has been reconstructed and rebuilt several times thereafter (see more in Archdiocese of Ernakulam, 1978, pp. 265-269). James (1979, p. 68) dates Kanjoor cross to the 14th or 15th century, but without providing any supporting evidence. Devassy (1961, p. 252) has estimated a height of 40 feet for the cross, which is certainly an exaggeration, since even Kaduthuruthy Valiapally cross, the tallest in Kerala, measures around 36 feet only!
Views of the Cross from East and West Sides
Enlarged Views of the Intersecting Regions of the Cross-Beam and Upright Pole 
Inset shows the enlarged view of the the motif in the intersecting region
The South-East and North-West Corners of the Pedestal
The yellow arrow marks the south-west corner of the pedestal buried under the soil
The Pedestal and the Alms Box
References
Archdiocese of Ernakulam-Historical Survey (1978), Souvenir of The Episcopal Silver Jubilee of His Eminence Joseph Cardinal Parecattil, Nov. 28, 1978
Devassy, M. K. (1961)-Census if India, Volume VII, Kerala, Part VII B (i) Fairs and Festivals of Kerala
Devassy, M. K. (1978)-Keraleeya Kraisthava Devalayangalile Shilpa Chithra Kalakal (Architecture and Painting of Kerala Christian Churches)
Edward, Sunil (2005, Thesis)-A Study of Indigenous Church Architecture of Kerala State
Hosten, Henry (1924)-In Documentation: Kerala Churches-Churches of Kanjur, Alangad, Koratty (Hosten Ms: 105-119), Tanima: A Review of St. Thomas Academy for Research (2008), Volume XVI, No. 1
James, E. J. (1979, Thesis)-The Thomas Christian Architecture of Malabar Ancient and Medieval Periods
Peter, Jenee (2020)-The Mural Traditions in Indian Churches: Contextualising Church Murals of Kerala. https://www.sahapedia.org/contextualizing-church-murals-of-kerala-within-the-mural-traditions-indian-churches.
Peter, Jenee and Gopi P. K. (2009)-Monograph on Church Murals of Kerala
OLD PHOTOGRAPHS
The Pedestal Layer Carved in the form of Fluted Lotus
Photo credit (1973): George Menachery, St Thomas Christian Encyclopedia of India, Volume 2
The Gatehouse (Padippura) of Kanjoor Church through Ages
Photo Credits:
1) Top left (undated)-Wikipedia (1-Pedestal, 2-Alms Box, 3-Murals, 4-Presbytery, 5-Upper Wooden Floor)
2) Top right (1968)- Virtual Museum of Images and Sound (VMIS), American Institute of Indian Studies (1-Pedestal, 2-Alms Box, 3-Murals)
3) Bottom left (undated)-George Menachery (1987)-Pallikalakal-Nooru Thikanja Thrissur Vicariathil-In Trichur Diocesan Centenary Commemoration Volume, 1887-1987 (1-Pedestal, 2-Alms Box, 3-Murals, 4-Upper Wooden Floor)
4) Bottom right (2015): 1-Pedestal, 2-Alms Box, 3-Murals
We don’t know when these rare undated photographs were taken, but it is certain that they are captured in the early 20th century. We learn from Hosten about a photograph that he took of the gatehouse, which was from too far, and the wall paintings therefore wasn’t clear, and that he wished the two panels of the picture ought to have been photographed separately. Taking a wild guess, could one of these undated photographs be the Hosten image of Kanjoor?
More Early Photographs of Kanjoor Gatehouse
Photo Credit: Left (undated)-Publication Division Ministry of Information & Broadcasting (1956)-5000 Years of Indian Architecture (1-Pedestal, 2-Alms Box, 3-Murals and 4-Upper Wooden Floor). Note that this photograph is another copy of the undated image of the gatehouse from the Menachery collection (see above); Centre (undated)-Wikipedia (1-Cross, 2-Murals and 3-Church); Right (1978)-Archdiocese of Ernakulam-Historical Survey (1-Pedestal, 2-Presbytery, 3-Murals)
Murals at the Kanjoor Gatehouse
On the outer walls of the previous gatehouse of the Kanjoor church, that is, on either side of the main door of the church, were two huge murals commemorating the defeat of Tipu Sultan's Mysore Army. The event is supposedly, the fall of Palakkad Fort (Tipu's southern Headquarters) on the 22nd September 1790, when his marauding soldiers were flushed out of the fort by the joint operation of the forces of the British East India Company and the Travancore Army, led by Col. Stuart. Why was it drawn at Kanjoor church? There is a tradition that the Kanjoor survived Tipu's attack by the miraculous intervention of its patron saint St. Sebastian. However, unlike as some assume, the mural is not a representation of the tradition of Tipu withdrawing from Kanjoor, (eg. Devassy, 1978, between pp. 28 and 29), but it is more like a reflection of the emotion of people celebrating the retreat of the Tipu's army from Palakkad. In fact, Tipu reaching Kanjoor after crossing Aluva, would be a major challenge in a historical perspective.
The exact date, or who designed these two murals are not known, but we know there was a reconstruction of the church in 1802 (Peter and Gopi, 2009, p. 45), and perhaps the murals were added at that time. Unfortunately, both the murals were destroyed in 1970s when the current Kanjoor front facade was constructed (Edward, 2005, p. 206). The murals were replaced by a modern painting copied from a facsimile kept in the Thrissur Archaeological Museum. The painting covers an area of 200 sq. feet and has been executed in indigenous Kerala style (Peter, 2020). Luckily, we have photographs of the original murals before they were demolished. Compare the original images with the modern replica, and you can easily see how minutely detailed and refined were the actual murals when compared to the copy available now. Hosten (1924, In Tanima, 2008, p. 30) too reports about these murals, and describes them as wall-paintings representing the forces of the English and of the Tranvancoreans (right of beholder) marching against the army of Tippu Sultan (A. D. 1790). We will discuss more on this matter when we go through to the mural traditions of the Syrian Christians.
On the outer walls of the previous gatehouse of the Kanjoor church, that is, on either side of the main door of the church, were two huge murals commemorating the defeat of Tipu Sultan's Mysore Army. The event is supposedly, the fall of Palakkad Fort (Tipu's southern Headquarters) on the 22nd September 1790, when his marauding soldiers were flushed out of the fort by the joint operation of the forces of the British East India Company and the Travancore Army, led by Col. Stuart. Why was it drawn at Kanjoor church? There is a tradition that the Kanjoor survived Tipu's attack by the miraculous intervention of its patron saint St. Sebastian. However, unlike as some assume, the mural is not a representation of the tradition of Tipu withdrawing from Kanjoor, (eg. Devassy, 1978, between pp. 28 and 29), but it is more like a reflection of the emotion of people celebrating the retreat of the Tipu's army from Palakkad. In fact, Tipu reaching Kanjoor after crossing Aluva, would be a major challenge in a historical perspective.
The exact date, or who designed these two murals are not known, but we know there was a reconstruction of the church in 1802 (Peter and Gopi, 2009, p. 45), and perhaps the murals were added at that time. Unfortunately, both the murals were destroyed in 1970s when the current Kanjoor front facade was constructed (Edward, 2005, p. 206). The murals were replaced by a modern painting copied from a facsimile kept in the Thrissur Archaeological Museum. The painting covers an area of 200 sq. feet and has been executed in indigenous Kerala style (Peter, 2020). Luckily, we have photographs of the original murals before they were demolished. Compare the original images with the modern replica, and you can easily see how minutely detailed and refined were the actual murals when compared to the copy available now. Hosten (1924, In Tanima, 2008, p. 30) too reports about these murals, and describes them as wall-paintings representing the forces of the English and of the Tranvancoreans (right of beholder) marching against the army of Tippu Sultan (A. D. 1790). We will discuss more on this matter when we go through to the mural traditions of the Syrian Christians.
The Murals on the Kanjoor Gatehouse
Photo Courtesy: Undated (left)-Ignatius Payyappilly (2016)-Dux Ad
Historiam: Unfolding of the Archdiocesan Archive of Ernakulam-Angamaly.
This is the same photograph that appeared in wikipedia (see above), but
here the upright pole of the cross is fully visible; Undated
(right)-Wikipedia
Comparison of the Murals-Original vs Replica
Photo credit: Top (1968)-Original murals, Courtesy: Virtual Museum of Images and Sound (VMIS), American Institute of Indian Studies; Middle (1973)-George Menachery, St Thomas Christian Encyclopedia of India, Volume 2. I don't know if these images are replicas, perhaps they are the facsimile images made by N. O. Antony in 1930s and currently preserved in the Trichur Archaeological Museum; Bottom (2016)-Modern replica based on the facsimile made in 1930s, currently displayed on the Kanjoor main entrance.
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