Once Muslim Fakirtried to build a mosque on the incomplete Royagopuram tower. The effort of citizen to desist him from doing so proved furtile. All on a sudden, eyes of Sree Badrakali Amman in the Swamy temple. Multitudes of people thronged to see the miracle. They all got an unknown strength. As its result, they joined together and drove away the Muslim Fakir.

               In 1812, Rous peter was the Collector of Madurai. He treated the peter pandyan by them. One night, there was heavy rain with lightning and thunder. Suddenly a small girl entered out. As sooon as he came out a lightning destoryed the room. The girl disappeared. Peter believed that Sree Meenakshi had saved him. He presented a pair of golded Stirrups, embedded with precious stones, for use on the idol of Sree Meenakshi wen taken in procession.

               We thus see how ancient, colourful, glamours and glorious is the history of the everlasting temple of Sree Meenakshi Sundareswarar.

               This storehouse of art was built in 1569 by Dalavoi Ariyanatha Mudaliar.

               Though this Mandapam is called Thousand Pillar Mandapam, there are only 985 pillars in it. At the spot, where the remaining 15 pillars should have erected, we find two small temples.

               All the pillars are in straight lines. This mandapam jis 250 feet long 240 feet broad. One the top of the entrance there is a wheel on which the features of the sixty Tamil years are pointes. This mandapam has been built like a car drawn by two elephants. At the entrance to this mandapam, we see the majestic pose of Ariyanatha Mudaliar seated on abeautiful horse. It seems as it the rider has over come the ferocity of a race-horse.

               On the other side, we see the statue of Harichandra, who never told a lie and of his devoted wife, chandramathi. The pose of Chandramathi holding her dead son Logidasan, is sure to evoke pity even in stone-headed person.

               The common man was not neglected by the sculptors of the olden days. This is seen from the pillars portraying a kurava (gypsy) and his wife.

               The ferocity and poverty, mingled in the face of the kurave, the sinews of his well-built body and his tall figures are brought out in such a realistic manner that one has to enjoy them only by seeing them. His dragging a monkey by a string is also depicted in a delightful manner.

               The statueof the Kurava's wife evinces even greater interest. The graphics illustration can harly be surpassed. It is a common phenomonon that only poor people have a great number of children. We find this proved in this statue. It looks as if the artist wanted us to find this pleasure in this work, but at the same time to pity the woman's poverty shown in the creation.

               The kurava's young wife has four children. One child drags her hand, another is sitting on her back. The third embraces her breast and the fourth is sitting on her head. Her handicraft of weaving basket is also very graphically embodied in this statue. The kind of turbans and footwear, worn in those days, is also seen in these statues.

               Near these, a pillar carries the scence of Lord Siva killing a monster. The powerful creature, that once shouted, les silent, under the feet of the Lord craving His grace.But the Lord;s determination to kill the miscreant and a sort of calmness and explicable smile are seen on his face, perhaps the artist desired to delineate the diametrically opposite qualities of man.

               Besides these some other pillars surpass in skill and talent. Lady playing on the strings of her Veena (musical instrument) , find a place on a pilla. On another :Pillar, we find Lork Muruga on a peacock. It seens as if the peacock is living one. Siva as Bana, Ganesh, a hunter carrying his wife on his shoulders.

               Another pillar give us a picture of an eunuch. This neutral being has a broad and high lifted chest and a coarse beard. These graphically describe the natural features of the eunuch.

               The art of love has not escaped from the hand of the artist, On one of the pillars, we see Rathi (the wife of Manmadha, the Love God) in all her beauty and charm. Some other pillars take us the pages of the Kama Sastra. (Science of Love making) .

               Thus Thousand Pillar Mandapam affords ample opprtunities for enjoying the inordinate skill of the ancient sculptors.

               The Kings of those days conducted assembiles in the temples in halls like the Thousand Pillar Mandapam. The representatives of the citizens also got a place in these assemblies.

               The statues of Mangayarkarasi, Kulachirayar, Koon pandyan and Gnanasambandar find a place in this mandapam. The Linga form of Lord Siva has been installed in this mandapam.

               This mandapam has been named after the sainty queen who contributed a lot to the growth of both Tamil and the Saivite religion.It is also a sample of the renovative of Sree Meenakshi temple during 1960 - 63.

               To the south of the Mangayarkarasi Mandapam is the Servaikarar Mandapam built by the Marudhu Pandyas. On the left pillar, we see the figure of Elder Marudhu.

               This dais and the black stone mandapam were built by Vijayaranga Chockanatar. His figure has been engraved on the first pillat on the southern side, facing north.

               On the southern and northern walls, the orgin of the universe and the living beings is painted within big circles.

               There is a hall, 97 feet by 47 feet providing spece for the spectators. On the top protion of this hall, there are weeden carvings and paintings. The pictures of Vyanagatam Venkatachalam Chettiar and Nagappa Chettiar who built this hall are also among them. The roof of this hall is covered with copper plates.