‘Panoramic view of, Pagân,’ ‘looking S.S.E.’ A CONTINUATION, stretching to the river, of the wilderness of ruins; of which not only could a very small number be visited during the short stay of the Mission, but only a limited portion be observed from any single point of observation. Distance, i...
Panoramic view of Pagân, looking S.W. by S.. Artist(s): Grant, Colesworthy (1813-1880)
Scope & Content:
‘Panoramic view of Pagân, looking S.W. by S.’ THIS portion of the Panorama contributes but a few, and very minor, ruins to the scene. A sandy plain, dotted with patches of low jungle; a trifle of vegetation of a better kind near the banks; the river and hills upon the opposite shore, are all el...
Panoramic view of Pagân, looking W.. Artist(s): Grant, Colesworthy (1813-1880)
Scope & Content:
‘Panoramic view of Pagân,’ ‘looking W.’ THE four preceding views were taken on the upward journey of the Mission: the concluding two were drawn on its return. Hence the river, having fallen considerably, presents a lower surface, and dry sand banks where none were before visible. This plate of...
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...
View in Kyouk Taloung; looking over the River N.E.. Artist(s): Grant, Colesworthy (1813-1880)
Scope & Content:
‘View in Kyouk Taloung; looking over the River N.E.’ A VIEW taken from the same spot, looking north, has no other interest than shewing the features of the place in that direction, and of the opposite shore. A few miles above this station the Mission was met by a large fleet of war boats, abou...
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...
