Vacations to Madras (Chennai) in the 1960s always included a drive down Mount Road: tourists HAD TO SEE modern India’s very own skyscraper called “L-I-C.” The LIC building was the regional Headquarters of “Life Insurance Corporation”, a government-owned mega-corporation. To the average Indian, it was the saviour during financial risks and disasters. Ironically, the LIC itself faced many risks and disasters before becoming Chennai’s iconic landmark.

The first contact between India and Portugal was when Vasco da Gama landed on the coast of Kerala in 1498. Over the next century or so, the Portuguese would become a permanent fixture in Goa, using it as a waypoint in their dealings with the islands of SouthEast Asia. In all their time in India, the Portuguese were not the friendliest lot. They had a very clear goal in the East: make heaps of money through trade and colonisation. So they had little interest in the culture and knowledge of these faraway lands. But there were some exceptions. One such exception was Garcia de Orta, a Portuguese physician, who wrote one of the first books printed in India.

In the late 1600s, the most respected and the most formidable ruler in Kerala was a queen. Her name was Umayamma Rani and she was the senior-most Queen of the Kingdom of Attingal. You might think that at a time when men ruled, and women were kept locked away in their houses, a powerful queen was an exception, but in fact, she was not. Umayamma came from a long line of powerful queens who, for centuries, had ruled a little kingdom called Attingal.

Even if you know nothing else about him, you’ve probably heard the name ‘Rembrandt’ at some point in your life. You might even have seen one of his famous paintings: maybe The Anatomy Lesson of Dr Nicolaes Tulp, where a group of men lean over a cadaver as a doctor reveals what a hand looks like without skin, or maybe the dashing company of swordsmen featured in the sprawling canvas of The Night Watch. Rembrandt is considered one of the masters of the Dutch Golden Age of painting. At some point, in the mid-1600s, Rembrandt came across examples of Mughal art and was so inspired by their noble-looking subjects and elaborate costumes, that he began to produce work in that style.