Panoramic view of Pagân, looking N.N.W.. Artist(s): Grant, Colesworthy (1813-1880)
Scope & Content:
‘Panoramic view of Pagân,’ ‘looking N.N.W.’ COMPLETES the Panorama of the one-time city of Forty-five Kings. This section includes the town, and it will be observed repeats the steamers and other objects about the ‘Boo-Phya’ or Pumpkin Pagoda. This is accounted for by its having been impractica...
Boo Phya, or Pumkin Pagoda, bank of the River, Pagân.. Artist(s): Grant, Colesworthy (1813-1880)
Scope & Content:
‘Boo Phya, or Pumkin Pagoda, bank of the River, Pagân.’ THIS singular Temple, the circular sloping base of which is washed by the waters of the Irrawaddy, crowns a succession of four terraces with parapets, and forms not the least remarkable object of a remarkable place. In itself it has certai...
Meen-gyan, from the Steamer. Artist(s): Grant, Colesworthy (1813-1880)
Scope & Content:
‘Meen-gyan, from the Steamer.’ TANTALIZED by late arrival at and early departure from the village of Koon-yooa, with its panorama of magnificent trees, colossal lions, beautiful pagodas and picturesque scenery generally, on the western bank, of which, consequently, no sketches could be obtained...
Kyouk Taloung from the Steamer. Artist(s): Grant, Colesworthy (1813-1880)
Scope & Content:
‘Kyouk Taloung from the Steamer.’ AFTER leaving Meen-gyan vegetation began to resume its place again upon the eastern bank; and now the ‘nodding verdure’ of umbrageous trees, amongst which the beautiful Tamarind, and the lofty Palmyra are again found, once more enrich the scene. Passing the to...
View in Kyouk Taloung; looking over the River.. Artist(s): Grant, Colesworthy (1813-1880)
Scope & Content:
‘View in Kyouk Taloung; looking over the River.’ TAKEN from the rear of the town, the front and river view of which, covering the brow of an eminence, had whilst steaming past, elicited the greatest admiration. A considerable collection of pagodas, and other religious edifices, rearing their wh...
Distant view of Umerapoora, from the Sagain Hill.. Artist(s): Grant, Colesworthy (1813-1880)
Scope & Content:
‘Distant view of Umerapoora, from the Sagain Hill.’ UMEERAPOORA, the capital of Burmah, seen from the summit of the southern hill at Sagàin, over the broad expanse of the Irrawaddy, smooth and brilliant as a mirror, presented a spectacle which neither pencil nor pen could flatter. The city, wi...
Sagain, and distant view of Ava, from the Sagain Hill.. Artist(s): Grant, Colesworthy (1813-1880)
Scope & Content:
‘Sagain, and distant view of Ava, from the Sagain Hill.’ STANDING on the same spot from whence the preceding view was obtained, and turning southward, the scene embraces a very distant view of Ava, or the site of that old capital, which may be known by a dim and minute cluster of pagodas on the...
Umeerapoora, from the long wooden Bridge, crossing the Lake Toung-ummah.. Artist(s): Grant, Colesworthy (1813-1880)
Scope & Content:
‘Umeerapoora, from the long wooden Bridge, crossing the Lake Toung-ummah.’ THIS distant, flat, and very meagre view of the capital, or of its margin, is obtained from the long wooden bridge which crosses the lake ‘Toung-ah-mah’, lying eastward, or in rear of the city. The rustic but strongly bu...
Panoramic view of Umeerapoora. Looking S.W.. Artist(s): Grant, Colesworthy (1813-1880)
Scope & Content:
‘Panoramic view of Umeerapoora. Looking S.W.’ A TOUR with Mr. Spears through the city in search of a favorable elevation from whence to secure a panoramic view of the capital, resulted in selection of the residence of Greneral D’Orgoni, who politely afforded every facility for the object. This...
Panoramic view of Umeerapoora. Looking N.W.. Artist(s): Grant, Colesworthy (1813-1880)
Scope & Content:
‘Panoramic view of Umeerapoora. Looking N.W.’ THIS view embraces a further part of the town on the river side, together with a continuation of the Sagain hills. On the extreme right and furthest point of land may be seen a mound, which to the eye of the observer is unintelligible in character....
