St. John’s Church, though not the oldest in Kolkata, is deeply intertwined with the city’s history and stands as a testament to the birth of British Calcutta. It followed the destruction of St. Anne’s Church, which once stood where the Writer’s Building is now. St. Anne’s was demolished during Siraj-ud-Daulah’s attack on Fort William in 1756. After the British reclaimed Calcutta, the old fort and church lay in ruins. With the arrival of additional British forces from Madras, the city’s European population grew rapidly, leading to increased demand for accommodation and public spaces, including places of worship.
The British East India Company, struggling to manage the influx of Europeans, divided accommodations by rank. Senior officers lived in patched-up old houses, while junior officers resided in thatched-roof structures. Although Fort William was completed by 1781, not all officers lived there. Moreover, British society followed strict rules, which included mandatory church attendance on Sundays. The Fort William chapel served the residents, but with the growing population, a larger, more prominent church was required. Church services were not merely religious; they were also vital social occasions where officers and their families gathered.
Etching by Daniell Thomas, subsequently coloured
To meet this demand, General Warren Hastings spearheaded a committee in December 1783 to build a new Presidency Church, later known as St. John’s Church. Notably, the funds for the construction came from a public lottery rather than government coffers. On the first day alone, 35,950 rupees were raised, and by the end of the project, the total amounted to 170,000 rupees, with the final construction cost being 184,836 rupees. The church was built on land formerly used as a gunpowder magazine, located next to an old cemetery. The land, originally sold to Maharaja Nabo Kishen Bahadur, was gifted back to the British government for the church’s construction—though this “gift” may have been more of a demand by the colonial administration.
The land on which St. John’s Church stands was once part of a cemetery, known as the “old burial ground,” used since the late 17th century. According to various accounts, this land had been the burial site for European settlers long before Job Charnock, the founder of Calcutta, arrived in the city. Some records even suggest that the first person buried here was Charnock’s Hindu wife. The burial ground had been in use for over a century, primarily for British officials and their families who died during their voyages along the Hooghly River. However, the cemetery was officially closed in 1767, after which the larger South Park Street Cemetery became the primary burial site.
The British East India Company auctioned off the land in 1774, and it was purchased by Raja Nabakrishna Deb of the Shobhabazar Raj family. The property was then “presented” to Warren Hastings in 1783, allowing the construction of the new church to proceed. Although historians debate whether this was a true gift or a coerced transaction, it is clear that Hastings made use of the land to fulfill the committee’s goal of building a church. Construction began in 1784 under the supervision of Lieutenant James Agg of the Bengal Engineers, who designed the church to resemble St. Martin-in-the-Fields in London.
Born in 1745 in Gloucestershire, England, James Agg was apprenticed to his father as a stone mason, but went to India in 1777 (sailing on the Seahorse in April and arriving in November) as an assistant to Col. Henry Watson, Chief Engineer of Bengal. After some years he joined the engineer’s department of the Bengal army, and while employed in that capacity he designed and built St John’s Church, in 1784-7. He returned to England on health grounds ‘with a handsome fortune’ in about 1796. Soon after he arrived home, the East India Co. offered him an appointment as Lt-Governor of St. Helena, which he declined. His fortune must have been very substantial, as just a year after his return to England he purchased a huge manor house near Cheltenham , known as “The Hewletts”, becoming one of the first of many thousands of Indian army officers and colonial administrators to settle in and around the spa town in the 19th century. He altered and redecorated most of the interiors of the house, but made few changes to the exterior.
The substantial manor house architect James Agg purchased after his return from India in 1797
The construction materials James Agg used for the church were unique for the time. Sandstone for the steeple and spire was brought from Chunar near Varanasi, which gave the building its reddish hue. This use of stone earned the church its local name, “Pathure Girja,” or “Stone Church.” Blue marble from the ruins of Gaur, finely polished, was used for the church’s flooring, while other materials were sourced from nearby regions. It took over 1.5 million bricks and 27,260 cubic feet of masonry to complete the structure. For his efforts in overseeing the construction, Lieutenant Agg was paid 15% of the total construction cost.
This map has been edited to highlight the key monuments within the Church compound
St. John’s Church was consecrated on June 24, 1787, St. John the Baptist Day. The consecration ceremony was attended by many high-ranking officials, including Lord Cornwallis, the then-Governor-General. The event marked the official opening of the church, with two children being baptized during the ceremony. The church would go on to serve as the main Anglican cathedral of Calcutta until St. Paul’s Cathedral was consecrated in 1847.
Originally, the design of the church was more modest, with a rectangular shape and a flat roof supported by Doric columns. However, over the years, several modifications were made. The west entrance, which originally led to the altar, was moved due to objections from the congregation about walking over graves. A new inclined path was added to the entrance to accommodate palanquins, the common mode of transport at the time. Additional extensions were built on the north and south sides, and the main entrance was modified with a portico supported by six Doric columns.
Inside, the church was a social hub for British officials and their families. A membership fee of 3 rupees per month was required for a reserved seat, a considerable sum at the time. Despite this, the church quickly became the focal point of British society in Calcutta. However, as the city’s European population continued to grow, St. John’s Church eventually became too small to accommodate all worshippers, leading to the construction of the much larger St. Paul’s Cathedral.
Over time, St. John’s Church underwent several renovations. In 1811, Governor General Minto initiated significant changes, including the addition of porticoes on the north and south sides and the transformation of the altar into an apse. These changes reflected the growing importance of the church as it transitioned from a simple place of worship to the main cathedral of Calcutta. By 1814, with the arrival of Bishop Thomas Middleton, the church was officially elevated to cathedral status.
In the early 20th century, Lord Curzon placed St. John’s Church under the direct supervision of the Lieutenant Governor of Bengal, and a fixed annual sum was allocated for its maintenance. Today, St. John’s is a protected heritage monument. Visitors are charged a modest entrance fee, and photography is permitted, allowing them to capture the historical significance of this iconic structure.
Among the most significant graves within the churchyard are those of Job Charnock, founder of Calcutta, and Admiral Charles Watson, a key figure in the British conquest of Bengal. Charnock’s mausoleum, along with other surviving gravestones, remains a key attraction for visitors.
St. John’s Church, with its yellow and off-white plastered exterior and red sandstone spire, continues to stand as a symbol of Kolkata’s colonial past, a structure that has witnessed the rise of British Calcutta and served as a center of social and religious life for nearly a century. Its history, intertwined with that of the city itself, remains preserved in its walls and memorials, providing a window into the early days of Kolkata’s development under British rule.
The Princip’s were an Anglo-Indian family which included merchants, scholars and artists. The painting is dated 1830, and carries this inscription: ” ‘Calcutta. From W. Prinsep by E.R. Prinsep’ and on the original mount: ‘William’s House. Charles’s House St John’s Church’. The homes she refers to are those of her brothers Charles and William Prinsep.
The Church
When you approach the entrance of St. John’s Church, you’ll notice a wide staircase leading to the main door. To your right, there is a tablet commemorating the church’s full restoration in 2007. Nearby, two additional stone tablets stand to the right of the main door. One acknowledges that Maharaja Nabo Kishen Bahadur donated the land for the church, and the other records the laying of the foundation stone on June 6, 1784, in the presence of Governor General Warren Hastings.
As you step inside, you’ll find that the church’s modest size justified the need for a larger cathedral, leading eventually to the construction of St. Paul’s Cathedral. Inside, fourteen Doric columns support the roof. The central seating section is flanked by additional seating areas to the left and right. Originally, galleries on the north (left) and south (right) sides faced each other rather than the altar. The seating arrangement reflected the rigid societal hierarchy of the time. The governor general and his family, along with other council members, occupied the center of the left gallery, while prominent women sat behind them. The right gallery was reserved for judges and other important men. The central area, without a gallery, had simple benches for poorer community members. The seating behind the pipe organ was for the chaplain’s family and churchwardens, while the choir sat opposite the organ.
A unique feature of the church is a semi-circular dome with blue walls above the altar, an uncommon color for Anglican churches but more typical of Roman Catholic ones. The altar itself is simple, with a cross, but the dome is adorned with three beautiful paintings. The central painting depicts the Birth of Christ, the one on the left shows Jesus preaching to the masses, and the one on the right illustrates the empty tomb after his resurrection. These scenes represent the three key stages in the life of Jesus: his birth, ministry, and resurrection.
One particularly rare feature of St. John’s Church is that it contains the burial of Thomas Fanshaw Middleton, the first Bishop of Calcutta, under its altar. Bishop Middleton died of heatstroke on July 8, 1822. Though he had expressed a desire to be buried in the chapel of Bishop’s College, it was not yet consecrated, so he was interred at St. John’s with full state honors, including a gun salute from Fort William. His burial under the altar is an exceptional case, made possible by special permission from the government. The initials “D.D.” on his memorial refer to his Doctorate of Divinity, a qualification necessary for clergy in the Church.
The church’s original entrance on the southeastern side has since been closed off and transformed into a small altar, enhanced by stained glass. This section is also home to a striking large painting of Jesus as Salvator Mundi on the north wall, which resonates deeply with many visitors. Another unique feature in this area is a colored stone tablet, the only one of its kind in the church.
St. John’s once had two balconies, one on the north and one on the south side. Today, only a portion of the southwestern balcony remains visible. A part of the balconies collapsed during World War II when a bomb landed in the churchyard during a Japanese air raid on Calcutta in December 1942. Fortunately, the bomb failed to detonate, limiting the damage.
An interesting detail you’ll notice is the use of mirrors around the pipe organ. The organist sits with his back to the congregation, and the mirrors allowed him to see the choir master or congregation for cues during the service. The pipe organ, crafted by the renowned company William Hill & Son & Norman & Beard Ltd. in England, was designed to produce a rich and varied sound, akin to their work for movie theaters during the silent film era. Some of their famous organs were installed in places like the Christie in Paris and the Odeon Marble Arch in London.
The church’s organ features consoles on both sides, with various stops that control different tones. A skilled organist must know how to manipulate these stops to produce a harmonious sound, using both hands and feet. The sound is generated by air passing through pipes of varying sizes, with pitch controlled by the length and thickness of the pipes. Wind pressure, created by a motor-driven bellow, allows the organ to produce sustained sounds, unlike a piano.
Zoffany’s Last Supper
One of the most famous artworks in St. John’s Church is Johann Zoffany’s painting of The Last Supper, completed in 1787. This masterpiece is not an exact replica of Leonardo da Vinci’s iconic version but carries unique colonial influences and an Indian touch, which make it stand out among other depictions of this biblical scene. The painting was presented to the church on April 9, 1787, a few months before its consecration, and has since been carefully restored, most recently in 2010 by the Goethe Institute and INTACH.
Zoffany’s Last Supper is celebrated for its fascinating departure from traditional portrayals. The most distinctive feature of this version is that Zoffany used real-life figures from 18th-century Calcutta as models for the faces of Jesus and the twelve disciples. Jesus was modeled after Father Parthenio, a well-known Greek priest, while John, often portrayed as effeminate in classical art, was based on W.C. Blacquiere, the police magistrate of Calcutta. Blacquiere was notorious for his ability to disguise himself as a woman, a trait that Zoffany captured in John’s delicate features. Judas, the betrayer, was famously portrayed by William Tulloh, a local auctioneer. Tulloh believed he was posing as John and was outraged when the painting was unveiled and he saw himself depicted as Judas, even filing a lawsuit against Zoffany.
The painting also features subtle but significant Indian elements that Zoffany incorporated. In the top left corner, there is a sword resembling a common peon’s tulwar. A metal ewer near the table mimics a traditional Indian spittoon, and a bhisti (water carrier) bag made from goatskin is placed beside it. These local touches add a distinct flavor to Zoffany’s depiction, blending European religious art with Indian cultural symbols.
The painting had a colorful history even beyond the artwork itself. Zoffany was known to charge around Rs. 1,000 per figure in his paintings, with this particular piece estimated at Rs. 13,000. However, Zoffany gifted this Last Supper to the church. Today, it hangs on the wooden wall to the left of the pipe organ, but it originally served as the altarpiece.
The controversy surrounding the depiction of Judas isn’t the only story attached to Zoffany’s work. Some suggest that the figure of Judas was based on an English resident in Lucknow, who betrayed both the Nawab and Zoffany himself. Others believe the model could have been Mr. Paul, a resident at the Court of Oudh, who criticized Lord Wellesley, or another Englishman who was similarly notorious.
Zoffany’s Last Supper in St. John’s Church is one of three known original Zoffany works in Calcutta. Another, a portrait of Elijah Impey, the first Chief Justice of the Supreme Court at Fort William, can be seen in Room No. 1 of the Calcutta High Court. The third painting, The Embassy of Hyder Beck, portrays the Wazir of Oudh, Haider Baig, who visited Calcutta to meet Lord Cornwallis. The area where his camp was set up is now known as Beckbagan, and the painting is displayed at the Victoria Memorial.
This church also has a number of interesting stone tablets, brass tablets, and cenotaphs, which I simply did not have sufficient time to document.
St. John’s Churchyard
The churchyard of St. John’s Church, much of which once served as Calcutta’s first Christian burial ground, predates the church by nearly eighty years. This historic ground, once filled with beautiful obelisks, pyramids, and intricately carved tombs, underwent significant changes during the construction of the church. Unfortunately, most of the graves were leveled to make way for the new building. In 1830, Mrs. Emma Roberts, a contemporary observer, remarked on the “act of desecration,” noting how it deeply upset the Christian population of Calcutta. The explanation given for this action was that many of the graves were in a state of “irreparable decay,” and it was deemed necessary to remove them to avoid any accidents from the crumbling ruins.
By 1802, nearly all remaining tombs had been cleared away, except for the Charnock Mausoleum and the grave of Admiral Watson, which were left intact as a nod to their historical significance. These two graves remain as enduring symbols of the site’s past, standing among the very few remnants of the once-expansive burial ground.
Left : Mausoleum of Job Charnock
Middle : Three recovered and relocated memorials
Right : Vice Admiral Charles Watson’s Memorial
Visitors to St. John’s Church can still explore the churchyard by entering from the main gate at the crossing of Kiran Shankar Roy Road and Council House Street. The red murram pathways lead around the church, with the surviving monuments scattered across the grounds, while the church itself stands at the center. Aside from Lady Canning’s memorial, which can be found on the north portico of the church, all other memorials and monuments are located in the surrounding churchyard, offering a glimpse into the history of colonial Calcutta and the lives of its early Christian residents.
Countess Canning’s Memorial
Charlotte Canning, Countess Canning (1817–1861), wife of Charles Canning, the Governor General and Viceroy of India, left an indelible mark on Kolkata. Her legacy lives on not only through her contributions to art and culture but also through a popular Bengali sweet known as “Ledikeni,” a dessert created in her honor.
Right : Her memorial inscription
Lady Canning arrived in Calcutta in 1856 alongside her husband. An accomplished artist, she painted over 350 watercolors during her tours of India, many of which are now displayed in London museums. Her letters to Queen Victoria remain valuable historical records, offering insights into life in colonial India. Despite the bustling political responsibilities of her husband, Lady Canning found solace in her art, and her works are admired for their delicate portrayal of the Indian landscape.
The Viceregal resort in Barrackpore was Lady Canning’s favorite retreat. However, after an exhausting journey through North Bengal in 1861, she contracted malaria and passed away on November 18th of that year. She was buried in her beloved garden at Barrackpore, though a memorial cenotaph was also erected in her honor on the northern veranda of the church. This stunning cenotaph, designed by George Gilbert Scott and John Birnie Philip, features a delicate mosaic, marble patterns, and an ornate cross, all contributing to its lasting visual impact on visitors.
Lady Canning’s memory has also been immortalized in Kolkata’s culinary history. The sweet “Ledikeni,” a fried chenna-based dessert similar to “Pantua,” was created in her honor by the famous Bengali confectioner Bhim Chandra Nag. Legend has it that Lady Canning was particularly fond of Bengali sweets, prompting the chef to invent this special treat to commemorate her. Originally called “Ladycanie,” the name evolved into the colloquial “Ledikeni,” which continues to be enjoyed by generations of Bengalis.
Rohilla War Memorial
The Rohilla War Memorial is a significant historical monument that stands in the St. John’s Church compound. As you exit the church and walk north, you’ll come across this memorial, which commemorates the two Rohilla Wars fought in the 18th century. These wars were part of a broader conflict involving the Rohillas, a Pashtun tribe originally from the region bordering Pakistan and Afghanistan, who had settled in the Rohilkhand area in north-western Uttar Pradesh.
The First Rohilla War (1773–1774) was triggered by tensions between the Rohillas and the Nawab of Oudh, Shuja-ud-Daulah. The British East India Company supported the Nawab in this conflict, leading to a punitive campaign against the Rohillas. The decisive battle occurred in January 1774, when the Rohilla chief Hafez Ruhmet was killed, marking the end of the war. A treaty signed in October 1774 formally concluded the hostilities. Although their power was reduced, the Rohillas continued to live in their territory of Rohilkhand, which remains part of modern-day Uttar Pradesh.
The Second Rohilla War, which took place in 1794 in Rampur, was another confrontation between the British-backed Nawab of Oudh and the Rohillas. This time, British forces under General Sir Robert Abercromby decisively defeated the Rohillas, cementing British and Nawab dominance in the region.
The memorial, designed in the style of the Temple of Aeolus by Sir William Chambers—still visible in the Royal Botanic Gardens in Kew, London—stands as a tribute to those who lost their lives in these wars. It features a circular dome supported by twelve pillars, with a round tomb on top. The memorial contains a plaque listing the names of several British military officers who were killed in the conflicts.
This monument not only commemorates the fallen British officers but also serves as a reminder of the turbulent history of the Rohilla people and their conflict with the Nawab of Oudh, backed by the British.
Vice Admiral Charles Watson’s Memorial
Right : Image of Watson from Calcutta, Past & Present by Kathleen Blechynden
Vice Admiral Charles Watson of the Royal Navy played a significant role in the British colonial history of India, particularly during the recapture of Calcutta from Siraj-ud-Daulah in 1756. Before his involvement in India, Watson served briefly as the Governor of Newfoundland and became the Commander-in-Chief of the East Indies Station in 1754. When Calcutta was seized by Siraj-ud-Daulah, Watson, alongside Robert Clive, sailed from Madras to liberate the city. His efforts in this military operation were crucial to British success, but tragically, Watson died shortly afterward and was laid to rest near Job Charnock’s mausoleum in what is now the grounds of St. John’s Church.
Watson’s memorial is one of the few monuments to have survived the construction of the church. It bears a poignant Latin inscription from the Roman poet Horace: “Exegit monumentum aere perennius,” meaning “I have raised a monument more permanent than bronze,” signifying the lasting legacy of Watson’s contributions.
In addition to Watson’s memorial, there are three other notable adjoined memorials in the churchyard.
The first belongs to William Speke, an 18-year-old surgeon on the ship Kent, which was commissioned by his father, Captain Henry Speke, and served under Admiral Watson during the siege of Fort Orleans at Chandannagar. During the battle, the heavily bombarded ship left young Billy Speke gravely wounded, eventually leading to his death in 1757 after losing his leg.
Middle : Eleanor Winwood (d.1766)
Right : Elizabeth Reed (d.1767)
The second memorial is dedicated to Mrs. Eleanor Winwood, and her epitaph ends with the familiar Latin phrase “Requiescat in pace,” meaning “Rest in peace.”
The third memorial, however, presents a bit of a mystery. It commemorates Mrs. Elizabeth Reed, who passed away on September 16, 1767, and her infant son, who died on November 17th of the same year. Oddly, the child’s date of birth would be around September 20th or 21st, four to five days after his mother had already died. This puzzling timeline has left historians questioning the accuracy of the epitaph.
Mausoleum of Job Charnock
The northernmost section of the St. John’s Church compound houses one of the city’s most significant historical landmarks: the mausoleum of Job Charnock, often remembered as the “founder of Calcutta.” The white, octagonal structure is located along a small concrete path near the Second Rohilla War Memorial.
Charnock’s tomb, constructed in the Moorish style, was built by his son-in-law, Charles Eyre, using stones brought all the way from South India. These stones, later known as Charnockite, form the oldest piece of masonry in Kolkata. The structure, standing at the northwestern corner of the churchyard, is distinguished by entrances on three sides and an epitaph written in Latin. The English translation reads:
“In the hands of God Almighty, Job Charnock, English knight and recently the most worthy agent of the English in this Kingdom of Bengal, left his mortal remains under this marble so that he might sleep in the hope of a blessed resurrection at the coming of Christ the Judge. After he had journeyed onto foreign soil he returned after a little while to his eternal home on the 10th day of January 1692.”
Right : His daughter, Catherine White (d.1701)
Though Charnock died in 1693, his epitaph incorrectly lists the year as 1692. His wife, an Indian woman of likely Hindu origin, is also buried in the mausoleum. Although she did not convert to Christianity, Charnock chose to bury her in a Christian manner. Curiously, Charnock is said to have sacrificed a cock annually at her tomb, a practice linked to the worship of the “Panch Pir” or “Five Saints,” a ritual originating among lower-class Muslims in Bihar, where Charnock had previously been stationed.
In addition to Charnock’s grave, the mausoleum contains the remains of other notable individuals. His daughters, Mary Eyre and Catherine White, are also buried here, with memorial stones commemorating their lives. The tomb of William Hamilton, an East India Company surgeon, can be found here as well. Hamilton is remembered for curing Mughal Emperor Farrukhsiyar of a serious illness, likely a groin swelling. His efforts earned him precious gifts and secured the Zamindari rights of 38 Parganas for the Company. Hamilton’s epitaph is inscribed in both Latin and Persian, possibly added by messengers sent by the Mughal Emperor to confirm his death.
Right : William Hamilton (d.1717)
The Persian inscription reads :
“William Hamilton, Surgeon, servant of the English Company, who had accompanied the English Ambassador of the illustrious court, and had raised his name in the four quarters by curing the King of Kings, the protection of the world, Muhammad Farrukhsiyar Ghazi, having, with a thousand difficulties, obtained from the court, the asylum of the world, permission to go home, died, as decreed by God, in Calcutta, on the 4th of December 1717. He lies buried in this place.”
This tombstone was found in 1786, when digging the foundations of the steeple of St. John’s Church. Warren Hastings wished the stone to be placed in the center niche of the church entrance, but it is now in the Charnock mausoleum.
Outside the mausoleum, surviving headstones from the old burial ground are arranged on the octagonal floor. The tombs include that of Martha Eyles, whose memorial tablet was shifted to the mausoleum in 1982.
Despite the significance of Charnock’s life and contributions, his legacy as the “founder” of Calcutta has been contested. In 2003, the Calcutta High Court ruled that Charnock was not the city’s founder, dismissing the claim in favor of a Public Information Litigation (PIL) filed by the Sabarna Roychowdhury family. While Charnock was instrumental in uniting the villages of Sutanuti, Govindopur, and Kolikata to form the early foundations of the city, historians argue that Calcutta’s development was a gradual process involving many other figures.
Nonetheless, Charnock’s place in Kolkata’s history remains indelible. First arriving in Bengal as an East India Company factor in 1656, Charnock steadily rose to prominence, becoming the head of the Company’s Patna factory in 1664. Later, in 1686, after a dispute with the Mughal Empire over customs duties, he fled from the Mughal troops and first landed in Sutanuti. After a brief stay in Hijli, Charnock returned to Sutanuti in 1690, where he eventually settled until his death three years later. His mausoleum remains a testament to his enduring influence on the city of Kolkata, even as debates continue over his true role in its founding.
Surrounding Tombs
The Charnock Mausoleum is surrounded by a set of 30 tombstones, all dating from 1693 to 1767. These tombstones, which encircle the octagonal structure, were preserved after graves were excavated and removed from the burial ground.
Jonathan White (d.1703)
Elizabeth Cooper (d.1719)
Captain Henry Burton (d.1693)
Interestingly, the gravestones are made from a distinctive form of black granite known as Pallavarm Gneiss, sourced from the Pallavaram area near Madras (now Chennai). In 1893, geologist T.H. Holland analyzed this stone and named it ‘Charnockite’ in honor of Job Charnock. The black granite used for these tombstones is often mistakenly referred to as the material for the mausoleum itself, but the actual construction stone differs from the black granite used for the gravestones. The use of ‘Charnockite’ for the tombstones is tied to the East India Company, whose agents sent this material from Madras for the construction of memorials.
In November 1893, during repairs undertaken by the Public Works Department, Rev. H. B. Hyde conducted an excavation of the mausoleum’s base to investigate whether any of Charnock’s remains could still be found. After digging approximately six feet, Hyde uncovered some bones and halted further excavation. He reported his findings to the Asiatic Society, which were later documented in the ‘Proceedings of the Asiatic Society of Bengal, 1893.’ However, some local historians have raised doubts about Hyde’s discovery, suggesting that after two centuries in Kolkata’s humid climate, it is improbable that Charnock’s remains would have survived. This debate leaves a lingering question about whether any trace of the city’s so-called founder still rests beneath the mausoleum today.
Grave of Frances “Begum” Johnson
Adjacent to the Mausoleum of Job Charnock lies the grave of Frances Johnson (1725–1812), an intriguing figure in Calcutta’s history. Known popularly as “Begum” Johnson, Frances led a remarkable life characterized by a series of marriages and notable social prominence. Born on April 10, 1725, she was the second daughter of Edward Crook, the Governor of Fort St. David. Growing up in India, she chose to spend her entire life there, becoming a well-known socialite who hosted dignitaries such as Warren Hastings, Lord Cornwallis, and Arthur Wellesley, establishing a wide circle of influential friends.
By Thomas Hickey
Frances earned the sobriquet “Begum” due to her close friendship with Amina Begum, the mother of Siraj-ud-Daulah, the Nawab of Bengal. Despite her connections, Frances is most famously remembered for her four marriages, which shaped her life story:
Perry Peupler Templar: Frances married Templar at the young age of 13 in 1738, although there are conflicting accounts regarding the exact year; some sources suggest 1744. Templar, who was the nephew of the Governor of Calcutta, died in January 1748, just five years into their marriage. Frances bore him two children, both of whom tragically died in infancy.
James Altham: Shortly after Templar’s death, Frances married merchant James Altham in November 1748. However, this marriage ended abruptly when Altham succumbed to smallpox within just ten days.
William Watts: In November 1749, she married William Watts, a senior member of the Supreme Council of Bengal. This marriage proved to be both happy and enduring; they had four children together, three of whom survived. However, their lives were severely disrupted in 1756 when conflict erupted between the British and the Nawab. During their imprisonment, Amina Begum befriended Frances, providing refuge for her and her children in her Zenana. After Siraj’s defeat in the Battle of Plassey, Watts managed to take the family back to England in 1760. Following Watts’s death in 1765, Frances returned to Calcutta in 1769 to administer her late husband’s estate, settling at 12 Clive Street, an address she occupied until her death.
Reverend William Johnson: In 1774, at the age of 49, Frances married Rev. William Johnson, who was 16 years her junior. This marriage, perhaps a result of a midlife crisis, proved to be an unhappy one; Rev. Johnson was said to have treated her poorly. Ultimately, their union was annulled in 1787, after which he returned to England while Frances remained in Calcutta.
Frances Johnson passed away on February 3, 1812, at the age of 87, completing a remarkable life that spanned nearly a century. Her epitaph, located within the circular temple-like tomb next to Charnock’s mausoleum, describes her as the “oldest British resident in Bengal, universally beloved, respected, and revered.” The beautifully designed grave stone reflects her significant social status and contributions to Calcutta society.
The epitaph provides an interesting reading, detailing her life, marriages, and children. Despite the trials she faced, including the loss of several husbands and children, Frances’s life was one of resilience and adaptability. She was known for her warmth and hospitality, qualities that endeared her to many. In recognition of her remarkable longevity and social contributions, the church’s burial ground was reopened for her interment, a testament to her lasting legacy in Calcutta.
Holwell Monument
The story of the Holwell Monument is inextricably linked to the infamous Black Hole Tragedy, a pivotal event in the history of colonial India. In June 1756, when Nawab Siraj-ud-Daulah invaded Calcutta, the British defenders were ill-prepared. The then-Governor of Fort William, Roger Drake, fled the fort, prompting the defenders to elect Holwell as their leader. The British eventually surrendered on June 20, 1756. Holwell claims that Siraj’s forces took 146 prisoners and confined them in a dungeon known as The Black Hole, measuring approximately 18 feet by 14 feet. According to Holwell, 123 prisoners died that night from thirst and fatigue, but this account is contested by historians. Some argue that the entire event is a fabrication, while others believe Holwell inflated the death toll.
Following the tragedy, Holwell erected an obelisk at the northwest corner of Dalhousie Square, featuring marble tablets inscribed with the names of the victims he could remember. However, the monument deteriorated over time, falling into disrepair and being misused by passersby. Eventually, in 1821, under the orders of the Marquess of Hastings, the monument was dismantled.
In 1899, on his way to Calcutta, Lord Curzon read H.M. Busteed’s book Echoes From Old Calcutta, which sparked his interest in the events of 1756 and the legend of the Black Hole. Upon arriving in Calcutta, Curzon identified the original site of Fort William and commissioned a replica of the Holwell Monument, which was erected on December 19, 1902. Curzon also placed brass lines and marble plaques to mark the bastions and curtain walls of the fort; many of these markers still exist today.
Curzon’s version of the monument included additional names of victims who died during the siege of Calcutta, rather than solely those who perished in the Black Hole. This list was prepared with assistance from Mr. S. C. Hill of the Indian Record Department.
As the Indian independence movement gained momentum, the Holwell Monument became a target for nationalist sentiment. In 1940, Netaji Subhas Chandra Bose launched an anti-imperialist campaign, declaring a march to demolish the monument, which had become a symbol of colonial oppression. Although Bose was arrested on the eve of the march, the British government took precautions and shifted the monument to the churchyard of St. John’s Church, where it stands to this day.
As you can probably tell by the length of this blog, there is much to see at St.John’s Church in Kolkata, and I didn’t even get time to document everything within the church itself ! A good excuse for a return visit perhaps…
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