View of S. West corner of the City Wall, Umeerapoora.. Artist(s): Grant, Colesworthy (1813-1880)
Scope & Content:
‘View of S. West corner of the City Wall, Umeerapoora.’ Each corner of the city wall was distinguished by a pretty lofty pagoda, and triple roofed covering; the angle here represented being improved and beautified by a line of massive palm trees skirting the interior; — but in both this and oth...
Street, and Eastern gate of Umeerapoora.. Artist(s): Grant, Colesworthy (1813-1880)
Scope & Content:
‘Street, and Eastern gate of Umeerapoora.’ The gate of honour at which the Mission entered on the several occasions of audiences with the King is called the ‘Ywè-dau-yoo-Taga,’ or the ‘Royal Gate of the Chosen’, because the care of it is entrusted to chosen troops. ‘It is the only gate of the P...
The Kings Palace, Exterior View, from within the Royal grounds.. Artist(s): Grant, Colesworthy (1813-1880)
Scope & Content:
‘The Kings Palace, Exterior View, from within the Royal grounds.’ THE Palace, or ‘Nan-dau,’ was built by Tharawaddee about the year 1838, and with its grounds is believed to cover a space of about quarter of a mile square. The lower part, an elevated terrace, is of brick; the superstructure ent...
The Throne and audience Chamber, Palace.. Artist(s): Grant, Colesworthy (1813-1880)
Scope & Content:
‘The Throne and audience Chamber, Palace.’ CALLED ‘Thee-ha-thuna-yàzà-pulleng’, and used only on occasions of importance. If this drawing realizes in any degree to the eye the blaze and brilliancy of the colonnaded hall, with its choir and transepts, its elaborately ornate and singular throne,...
The White Elephant Palace, within Royal Palace grounds.. Artist(s): Grant, Colesworthy (1813-1880)
Scope & Content:
‘The White Elephant Palace, within Royal Palace grounds.’ THIS building, the state room, as it may be termed, of the far famed ‘Lord White Elephant’ of Ava, is situated in the same grounds and on the same line with the Royal Palace. It is only necessary to place this drawing on the right of the...
A Kioum or Monastry, near the British Residency.. Artist(s): Grant, Colesworthy (1813-1880)
Scope & Content:
‘A Kioum or Monastry, near the British Residency.’ THIS strikingly pictorial and handsome building, called the ‘Tha-ta-than-a Kioum’, is a fair and characteristic example of the general architecture of these monastic edifices, and was long an object of admiration to the gentlemen of the Mission...
The British Residency - Toung-um-mah.. Artist(s): Grant, Colesworthy (1813-1880)
Scope & Content:
‘The British Residency - Toung-um-mah.’ THE Building prepared for the reception and accommodation of the Embassy was situated on the eastern margin of the Lake Toungummah, and constructed under the superintendence of Mr. Camaretta, with the friendly aid of Mr. Spears, at an expence of between ...
Further part of The British Residency Toung-um-mah. Artist(s): Grant, Colesworthy (1813-1880)
Scope & Content:
‘Further part of The British Residency Toung-um-mah.’ REPRESENTS that portion of the Residency grounds from whence the first sketch was taken, and includes the principal entrance or gateway; on either side of which was a Bungalow; that on the right being the quarters of Major Grant Allan, and o...
Dalhousie Bay, and Island of Negrais.. Artist(s): Grant, Colesworthy (1813-1880)
Scope & Content:
‘Dalhousie Bay, and Island of Negrais.’ FROM the hill at Fytche Point. The site of the new settlement near Cape Negrais, named after the Governor General, the Marquis of Dalhousie. To this place it is intended to remove the existing Government establishment from Bassein. It is situated on the w...
The Bank at Theroukmyeon (or Myenka-toung). Artist(s): Grant, Colesworthy (1813-1880)
Scope & Content:
‘The Bank at Theroukmyeon (or Myenka-toung)’ MYENKA-TOUNG appears to have been the name by which, thirty years ago, the Pagoda was known which crowns one of the cliffs of red sand stone on the right or western bank of the river, between Menhla and Mengoon. It is referred to at page 9 of Report.
