The Frontier, from the Steamer. Artist(s): Grant, Colesworthy (1813-1880)
Scope & Content:
‘The Frontier, from the Steamer.’ THE Frontier of the British and Burman territories, which was passed on the forenoon of the eleventh day of the journey, is marked on either shore by two white pillars, which in the drawing, as in reality, are distinguishable as little more than two white specs...
Zoungyan-doung, from the Steamer. Artist(s): Grant, Colesworthy (1813-1880)
Scope & Content:
‘Zoungyan-doung, from the Steamer.’ FROM the frontier to this place, the scenery of the Irrawaddy, with its long range of densely clad hills on the west (whilst the eastern is low and frequently park like), always commanding admiration, continues imposing and beautiful. Its resemblance and freq...
Mengoon, from the Steamer. Artist(s): Grant, Colesworthy (1813-1880)
Scope & Content:
‘Mengoon, from the Steamer.’ No opportunity having been afforded of obtaining sketches of the large village of Laypadoh, — of the picturesque frontier town of Maloon, or of the village of Menhla, the residence of the Governor of Maloon, the next place of halting was Mengoon (or Myen-goon) — ‘Th...
Mag-way, Pagoda and River, looking north. Artist(s): Grant, Colesworthy (1813-1880)
Scope & Content:
‘Mag-way, Pagoda and River, looking north.’ THE banks of the river now change their character. The right or western side becomes low, whilst the left rises into bold elevations. Mao-way — the largest town yet seen by the Mission — is built after the usual Burmese manner, in lines of houses para...
Yé-nan-gyoung, Petrolium or Earth Oil Creek. Artist(s): Grant, Colesworthy (1813-1880)
Scope & Content:
‘Yé-nan-gyoung, Petrolium or Earth Oil Creek.’ THE town, viewed from the deck of the steamer. Yea-nan-gyoung, or ‘Fetid Water Creek,’ so called from the ‘Petroleum’, or Earth Oil, of which singular production this is the locality, stands on the eastern, or left bank of the Irrawaddy, and was r...
Yé-nan-gyoung, from the hills. Artist(s): Grant, Colesworthy (1813-1880)
Scope & Content:
‘Yé-nan-gyoung, from the hills.’ THE town, viewed from the south hills, is here seen nestling in a broad valley, a portion of which forms the entrance of the creek, lying between the sandy, stony, and barren eminences which appear as though they had been up-heaved about it.
Precipitous banks at Yé-nan-gyoung. Artist(s): Grant, Colesworthy (1813-1880)
Scope & Content:
‘Precipitous banks at Yé-nan-gyoung.’ THIS spot, the precipitous and rugged banks of which look over the river towards the Arracan Hills, was, for its singular features — its riven cliffs of sandstone and clay, selected for delineation as characteristic of the sea-coast like boldness of the ban...
The Oil Wells, Yé-nan-gyoung. Artist(s): Grant, Colesworthy (1813-1880)
Scope & Content:
‘The Oil Wells, Yé-nan-gyoung.’ THESE interesting objects are situated at about two miles and-a-half from the town. The road which led to them was marked by nature’s wildest and strangest aspect. High hills, split as it were by some mighty convulsion of nature, resembling a stony avalanche — or...
View. from the Creek, Yé-nan-gyoung. Artist(s): Grant, Colesworthy (1813-1880)
Scope & Content:
‘View. from the Creek, Yé-nan-gyoung.’ Upon the first visit of the Embassy, this creek, whence the town takes its name, and from the bed of which this view is obtained, was partially flowing with water, and served as a harbour for boats. On the return of the Mission party, the whole channel, wi...
Panoramic view of Pagân, looking N.E. by N.. Artist(s): Grant, Colesworthy (1813-1880)
Scope & Content:
‘Panoramic view of Pagân, looking N.E. by N.’ THE marvels of the ancient city of Pagan, with, its ten miles of ruins, eight centuries old, had long been the subject of conversation and anxious curiosity to the members of the Mission, — and their realization rather exceeded than fell short of ex...
