Journel of the artist to amarapura by derric maw

အ မ ရ ပူ ရ The Journel of The Artist to

Amerapoora In 1855

Paintings by Colesworthy Grant (1813 – 1880) 1

www.mingalarpar.org

Dedicated to Our People.

First Collection : August 2011 2

Especially Thank to

British Library And

The Artist

Colesworthy Grant The Paintings and Information are downloaded from British Library. www.bl.uk Copy Right @ British Library 3

ပန္းခ်ီ မွတ္တမ္းမ်ား အေၾကာင္း အက်ဥ္း ၁၈၅၂ ခုႏွစ္တြင္ ျဖစ္ပြားခဲ့ေသာ ျမန္မာ - အဂၤလိပ္ ဒုတိယ စစ္ပဲြ ျပီးဆံုးခါနီး ၁၈၅၃ ခုႏွစ္တြင္ မင္းတုန္းမင္းသည္ အမရပူရထီးနန္းကို သိမ္းပိုက္ျပီး နန္းတက္လာခဲ့သည္။ ၁၈၅၅ ခုႏွစ္တြင္ ဘုရင္ခံ ဒါလ္ဟုိဇီ (Dalhousie) က အာသာဖယ္ရာ (Arthur Phayre) ဦးေဆာင္သည့္ သံတမန္အဖြဲ႕ကို မင္းတုန္းမင္း အုပ္စိုးေနသည့္ အထက္ျမန္မာႏိုင္ငံ အမရပူရျမိဳ႕ေတာ္သို႔ ေစလႊတ္ခ့သ ဲ ည္။ အထက္ျမန္မာႏိုင္ငံ၏ စစ္ေရး၊ ကာကြယ္ေရး၊ စီးပြားေရး၊ လူမႈေရး အေျခအေန သတင္းအရပ္ရပ္တို႔ကို ေထာက္လွမ္း မွတ္တမ္းတင္ရန္အတြက္ ဓါတ္ပံုဆရာ တစ္ဦး ႏွင့္ ပန္းခ်ီဆရာ တစ္ဦးတို႔ကို သံအဖြဲ႕၀င္မ်ားအျဖစ္ လိုက္ပါေစခဲ့သည္။ ဓါတ္ပံုဆရာမွာ Linnaeus Tripe ျဖစ္သည္။ သူသည္ ခရီးစဥ္တေလွ်ာက္ ဓါတ္ပံုေပါင္း ၂၀၀ ေက်ာ္ ရိုက္ကူးခဲ့ျပီး၊ ထိုအထဲမွ ပံုေပါင္း ၁၂၀ ကို ထုတ္ေ၀ခဲ့သည္။ ပန္းခ်ီဆရာမွာ Colesworthy Grant ျဖစ္သည္။ သူသည္ အထက္ျမန္မာျပည္ လမ္းပန္းအေျခအေန ရႈခင္းပန္းခ်ီကားမ်ားႏွင့္ လူပုဂၢိဳလ္မ်ား၏ ပံုတူပန္းခ်ီကားမ်ားကို ေရးဆြဲခဲ့သည္။ ထိုအထဲမွ ပန္းခ်ီကား ၁၀၆ ကားကို ထုတ္ေ၀ခဲ့သည္။ ယခု စုစည္းမႈတြင္ ပန္းခ်ီကား ၁၀၆ ကားစလံုးႏွင့္ အျခား ပန္းခ်ီကား ၁ ကားတို႔ ပါ၀င္ပါသည္။ မင္းတုန္းမင္းသည္ မႏၱေလးျမိဳ႕ကို အသစ္တည္ကာ ၊ အမရပူရျမိဳ႕ကို စြန္႔ခာြ ျပီး မႏၱေလးျမိဳ႕သို႔ ၁၈၅၇ ခုႏွစ္ ဇြန္လတြင္ ေျပာင္းေရႊ႕ခဲ့၏။ ျဗိတိသွ် စာၾကည့္တုိက္မွာ ေဖာ္ျပထားသည့္ စာလံုးေပါင္း မူရင္းသတ္ပံုအတိုင္း Amerapoora

ကို သံုးစြဲထားပါသည္။ အခ်ိဳ႕ပန္းခ်ီမ်ားတြင္ Umeerapoora

ဟုလည္း သံုးစြဲထားသည္။ ပန္းခ်ီကားမ်ားကို ေဖာ္ျပထားသည့္ အစီအစဥ္သည္ စုေဆာင္းသူ၏ အစီအစဥ္အတိုင္းသာ ျဖစ္ပါသည္။ အခ်ိဳ႕အစီအစဥ္ေနရာမ်ားတြင္ စာဖတ္သူႏွင့္ သေဘာထား ကြဲလြဲမႈမ်ား ရွိႏိုင္ပါသည္။ ပန္းခ်ီကား အစီအစဥ္တြင္ လႊဲေခ်ာ္ျပီး ဟာကြက္မ်ားရွိေနပါက စုေဆာင္းတင္ျပသူ၏ ခၽြတ္ယြင္းမႈျဖစ္သည္။ ၁၉

ရာစုအလယ္

၁၈၅၅

ခုႏွစ္၀န္းက်င္က

ျမန္မာႏိုင္ငံ၏

ဘာသာေရးအေဆာက္အဦမ်ား၊

ယဥ္ေက်းမႈအႏုပညာ

လက္ရာမ်ား၊

တိုင္းျပည္၏

အေျခခံ

အေဆာက္အဦမ်ား၊ စစ္ဖက္ဆိုင္ရာ ကာကြယ္ေရးမ်ား၊ စီးပြားေရး အေျခအေနမ်ား ၊ မင္းႏွင့္ ျပည္သူတို႔၏ လူေနမႈပံုစံမ်ား စသည္တို႔ကို ဆန္းစစ္လိုသူမ်ား ႏွင့္ ျဗိတိသွ် ပန္းခ်ီဆရာ၏ အႏုပညာလက္ရာကို ေလ့လာလိုသူမ်ားအတြက္ ပန္းခ်ီကားမ်ားကို တစ္ေနရာတည္းမွာ စုစည္းထားျခင္းသာျဖစ္ပါသည္။

ရည္ညႊန္း - ေတာင္သမန္ေရႊအင္းက ေလညင္းေဆာ္ေတာ့ ၊ ျမသန္းတင့္ သမိုင္းထဲက မႏၱေလး မႏၱေလးထဲက သမိုင္း၊ ျမသန္းတင့္

About the Album The drawing are from an album of 106 landscapes and portraits of Burmese and Europeans entitled, "A Series of Views in Burmah taken during Major Phayre’s Mission to the Court of Ava in 1855". This album consists of 106 landscapes and portraits of Burmese and Europeans documenting the British embassy to the Burmese King, Mindon Min (r.1853-1878). In addition to a privately-printed book of notes, a number of Grant's drawing were used for illustrations to Henry Yule’s ‘A Narrative of the mission sent by the Governor General of India to the Court of Ava in 1855’ published in 1858. The album documents the British embassy to the Burmese King, Mindon Min (reigned 1853-1878), which started from Rangoon and travelled up the Irrawaddy River to the royal capital of Amarapura in central Burma. The mission took place after the Second Anglo-Burmese War in 1852 and the annexation by the British of the Burmese province of Pegu (Bago). It was despatched by the GovernorGeneral of India Lord Dalhousie on the instructions of the East India Company, to attempt to persuade King Mindon to sign a treaty formally acknowledging the extension of British rule over the province. In addition to diplomatic duties, the mission aimed to obtain accurate information about the country, culture and people of Burma. Colesworthy Grant (1813-1880) was the official artist of the mission. In recognition of his skill, Grant was presented with a gold cup and ruby ring by the Burmese King. He had come to India in 1832 where he lived in Calcutta and worked as a professional artist and freelance journalist, travelling to Rangoon in 1846. (From British Library) 5

Colesworthy Grant (1813 – 1880) Grant was the founder of the Calcutta Society for Prevention of Cruelty to Animals and the writer of the Annals of Rural Bengal. He used to help animals drink water from a fountain at the north-east corner of Laldighi. The Society still operates from its office in Bowbazar. Grant had also written Anglo-Indian Domestic Sketch, a compilation of letters he had written to his mother in the mid-19th century. He has left behind a delightful account of how two ships laden with ice “retained by an American speculatist” brought the first supplies of “common ice” to Calcutta. A Londoner, Grant came to India in 1832 at the age of 17. His brother Harry was a bookseller and Colesworthy lent him a hand. Their establishment was on the spot where Stephen Court stands today Colesworthy Grant was not just a writer but an artist as well. He had executed a series of lithographed portraits of notable people in Calcutta which appeared in the India Review and the Monthly Journal. Other portraits appeared in the Bengal Sporting Journal. All these were published in the form of a book titled Outline Portraits. His famous print of a bazaar in Calcutta with merchants from all over the world and India in a huddle testifies to the cosmopolitan nature of Calcutta in the 19th century. Grant used to be a drawing teacher at Bengal Engineering College and Presidency College. After he died in 1880 his admirers erected an obelisk that is still there today. It was in a terrible state not very long ago. Now it is spruced up and looks quite handsome. www.telegraphindia.com

List of Paintings

(Page)

1. Dalhousie Bay, and Island of Negrais (ဟိုင္းၾကီးကၽြန္း)

2. Ruins of the old Factory - on Negrais Island

3. Tomb (said to be an English Lady) - on Negrais Island

4. Old Monastic houses - a Road in Rangoon

5. Rangoon - from platform of the Great Pagoda

6. The Frontier, from the Steamer

7. Henzidah - from the Steamer

8. Donabew - from the Steamer

9. Myan-Oung, from the Steamer

10. Prome, from the Southern heights (ျပည္ျမိဳ႕)

11. Thayet-myo, from the Steamer, looking south

12. Thayet-myo, from the Steamer, looking north

13. The Library, etc., on the bank - Thayet-myo

14. Zoungyan-doung, from the Steamer

15. The bank near Web-ma-soh, and Mission Steamers

16. Kama, from the Steamer

43 7

17. Samaik-gon

18. Silleh-myo , စေလျမိဳ႕

19. Semphyo-Kyoon. White Elephant Island

20. Mag-way, Pagoda and River, looking north

21. The Eastern Bank above Mugway

22. The Mud Volcanoes at Memboo 54067

23. Oil Spring at Memboo

24. The Mud Volcanoes at Memboo 54066

25. The bank in sight of Yé-nan-gyoung

26. The bank approaching Yé-nan-gyoung

27. Yé-nan-gyoung, Petroleum or Earth Oil Creek

28. The Oil Wells, Yé-nan-gyoung

29. Yé-nan-gyoung, from the hills

30. Precipitous banks at Yé-nan-gyoung

31. View. from the Creek, Yé-nan-gyoung

32. Chengoo or Sengoo-Oung

33. The Bank at Theroukmyeon (or Myenka-toung) (between Menhla and Mengoon)

34. The Banks of the Irrawaddy - Below Pagân and near the frontier

35. Panoramic view of Pagân, looking N.E. by N

78 8

36. Panoramic view of Pagân, looking E. by S.

37. Panoramic view of, Pagân, looking S.S.E.

38. Panoramic view of Pagân, looking N.N.W.

39. Panoramic view of Pagân, looking W.

40. Panoramic view of Pagân, looking S.W. by S.

41. Boo Phya, or Pumpkin Pagoda, bank of the River, Pagân

42. Meen-gyan, from the Steamer

43. The bank near Kannee

44. The Bank at Theroukmyeon (or Myenka-toung), higher up 95 45. The Bank at Theroukmyeon (or Myenka-toung)

46. Kyouk Taloung from the Steamer

47. View in Kyouk Taloung; looking over the River

100

48. View in Kyouk Taloung; looking over the River N.E.

102

49. The British Residency - Toung-um-mah

104

50. Further part of The British Residency Toung-um-mah

106

51. The Kings Palace, Exterior View, from within the Royal grounds 108 52. The Throne and audience Chamber, Palace

110

53. Street, and Eastern gate of Umeerapoora

112

54. Panoramic view of Umeerapoora. Looking E.

114 9

55. Panoramic view of Umeerapoora. Looking N.

116

56. Panoramic view of Umeerapoora. Looking S.

118

57. View of S. West corner of the City Wall, Umeerapoora

120

58. West Gate and part of City Wall, Umeerapoora

122

59. Panoramic view of Umeerapoora. Looking S.E.

124

60. Panoramic view of Umeerapoora. Looking N.W.

126

61. Umeerapoora, from the long wooden Bridge, crossing the Lake Toung-ummah 62. A Kioum or Monastry, near the British Residency

130

63. The White Elephant Palace, within Royal Palace grounds

132

64. The Elephant Pen, and Wild Elephant taming

134

65. 'The Lord White Elephant'

136

66. 'The Lord White Elephant' Regalia

138

67. Sagain, and distant view of Ava, from the Sagain Hill

140

68. Distant view of Umerapoora, from the Sagain Hill

142

69. Burmese Travelling Cart

144

70. Mengoon, from the Steamer

146

71. Model of the Great Temple of Mengoon

148

72. Ruins of the Great Temple of Mengoon

150

73. The Great Bell at Mengoon

152 10

128

74. Ruins of the Colossal Lions at Mengoon

154

75. Three Burmese Infantry Soldiers

156

76. Moung-Gya-oo. Mugway Mengyee - Chief Woongee, or Prime Minister of State

158

77. Moung Mho, the Myadoung Myotsa. Second Woongee

160

78. Moung Shwé-Gnyo. Myoke of Thayet-myo

162

79. Moung Yué. Myoke of Meerday

164

80. The Tsare-daugee or Royal Scribe. In charge of British Residency 81. Governor of Pagân

168

82. Moung, Share Moung. An Albino, age 70

170

83. Moung Tooh. Tara-thoo-gyee, or Chief Civil Judge

172

84. Moung Pho; Taline Clerk to Commissioner

174

85. Mr. Mackertich J. Mines. Governor of Melloon

176

86. Moung-ghee - The son of Bundoola. Rangoon

178

87. Moung Mhon. The Woondouk

180

88. Kiouk-kei. Karen. Kemendine

182

89. Kyan-lau-gee. Karen. Kemendine

184

90. Moung Toh. Khien

186

91. Pho-men. An Albino, age 17

188

92. Rough Sketch of Kathé Boatmen, en route to Mengoon

190

166

93. Profile of the Hirsute faced Woman of Ava

192

94. Maphoon, The Hirsute faced Woman of Ava, and her child

194

95. A Kathé or Munnipoore Horseman

196

96. Khien Woman

198

97. Mameet. Taline Lady. Daughter of the Native Magistrate of Prome

200

98. Ameegalay. Taline Lady. Daughter of the Native Magistrate of Prome

202

99. Shembaloon, native of Koonyoo. Khien Woman

204

100. Moung-Looglè. Nephew to the Woondouk

206

101. Mr. Antonio Camaretta. Collector of Customs

208

102. Major A.P. Phayre. Envoy, and Commissioner of the Pegue Provinces

210

103. Father Abbona

212

104. R.S. Edwards, Esq. attaché to Mission

214

105. General D'Orgoni

216

106. Thomas Spears

218

1. View of the Myit-nge or Little River and part of the valley of the Irrawaddy from the mountain called Mya-liet (Burma). 9 October 1855

221

1. Dalhousie Bay, and Island of Negrais (ဟိ ဟိုင္းၾကီးကၽြန္း) Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 20 August 1855 Watercolour with pen and ink of a view of Negrais Island 'A Series of Views in Burmah taken during Major Phayre’s Mission to the Court of Ava in 1855' by Colesworthy Grant and dated 20 August 1855. In the mid 18th century, the East India Company erected a factory on Negrais Island and a treaty was obtained from King Alaungpaya of Bego and Ava ceding the island to the British in perpetuity. Grant wrote that this view was taken: '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 west coast of the broad entrance of the magnificent Bassein River, to the south of Long Island, and north-west of the Island of Negrais, which is seen on the left of the picture. The Bay, which is said to abound in sharks, is unfortunately so shallow as to allow of boats only approaching near to the shore. A good and well protected anchorage is anticipated between Negrais Island and the main-land at the southern extremity of the Bay, at which point it is proposed to erect a pier for the landing of cargo from the ships. From the beach the land gradually shelves for a considerable distance in, and then rises, in the form of an amphitheatre, into woody and picturesque hills, at present an almost impenetrable mass of dense jungle; the haunt, it is believed, of a great variety of wild beasts. Of this kind is the hill at Fytche Point (so called after the Commissioner of Bassein, Major Fytche) at the northern end of the Bay.

It was from the summit of this hill, perched on the branch of a tree, as the only means of obtaining a view at all of the landscape beneath, that this sketch was taken; and to reach this elevation it was necessary literally to plough through the dense and wet jungle which appeared at first to forbid all entrance. Laboriously and patiently cutting with a knife, tearing with the hands, trampling, breaking with the feet, forcing through with the body, clambering, diving and crawling, were the only means by which the obstacles presented by the entangled, thorny and dark mass of underwood were at last overcome. It is impossible to imagine jungle vegetation more luxuriant and dense than in Pegue.'

2. Ruins of the old Factory - on Negrais Island Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Drawing in pen-and-ink and watercolour made by Colesworthy Grant in 1855, depicting a view of the overgrown remains of the British East India Company factory building on Negrais (Hainggyi) Island in Irrawaddy (Ayeyarwady) Division, Burma (Myanmar). Negrais Island was not visited on this journey as it is situated on the southern coast of Burma at the mouth of the Bassein River. However it had significant historical associations for the British. In 1753 the East India Company had erected a factory on the island to form a settlement and a treaty was obtained from King Alaungpaya, ceding the island to the British in perpetuity. In 1759 the settlement was attacked by the Burmese, its garrison either killed or taken prisoner, and the factory was subsequently abandoned. The artist described this image as a â&#x20AC;&#x153;Remnant of the ruins of the English Factory, in which, a century ago, the whole of the Europeans, it is recorded, were murdered.â&#x20AC;?

3. Tomb (said to be an English Lady) - on Negrais Island Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Drawing in pen-and-ink and watercolour made by Colesworthy Grant in 1855, depicting a view of a tomb thought to belong to an Englishwoman on Negrais (Hainggyi) Island in Irrawaddy (Ayeyarwady) Division, Burma (Myanmar). Negrais Island was not visited on this journey as it is situated on the southern coast of Burma at the mouth of the Bassein River. However it had significant historical associations for the British. In 1753 the East India Company had erected a factory on the island to form a settlement and a treaty was obtained from King Alaungpaya, ceding the island to the British in perpetuity. In 1759 the settlement was attacked by the Burmese, the members of its garrison either killed or taken prisoner, and the factory subsequently abandoned. Describing this image, the artist wrote of â&#x20AC;&#x153;A dilapidated Tomb - said to have covered the grave of an English lady, buried in this spot about one hundred years ago. The tomb is enwrapped in the arms and roots of an old Banyan tree

4. Old Monastic houses - a Road in Rangoon Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour in pen and ink of monastery buildings beside a wide road in Rangoon (Yangon) in Burma (Myanmar).. Grant described this view as follows: 'The building occupied by Major Phayre, the Commissioner, as a temporary residence at the time of the Mission, is one of the few remaining old Kioungs or dwellings of the Poongees, or priests of old Rangoon, and stands at the west side of the principal road leading to the great Pagoda, which is seen at the extreme of the drawing. Throughout Burmah, the Monasteries, or dwellings of the priests, which are always in the immediate vicinity of a temple, and generally attached to it, partake of the sanctity, the honors and privileges of the pagoda, and other religious edifices. The triple roof is an architectural distinction peculiar and permitted only to these monastic buildings, and to the residence of the King, the Heir apparent, and 'Lord White Elephant.' The very beautiful seven-roofed pyasath of the Tzoum or sanctuary, of which numerous specimens are found in Captain Tripe's Photographs, is confined elsewhere to the Royal Palace, crowning the spire of which, also, is found the graceful and gilded Tee, an honorable distinction appertaining only to persons and things sacred or royal. In presence of the Priesthood, however, even the King 'wears his honors meekly,' - for on visiting a pagoda, or monastery he will remove his shoes, whereas a Poongee, or Priest, on entering the royal palace or presence, is not, it is said, under the necessity of doing the same tiling. The Kioungs are built entirely of wood, and raised on massive pillarsabout seven feet from the ground; but the stairs, with their gracefully convoluted andmassive sides, are invariably of brick and plaster, - the only bit of masonry belonging to the edifice. The old buildings here represented, dilapidated and dismantled of theirornament, convey not the slightest conception of the gorgeous monasteries of Ameerapoora.' 21

5. Rangoon - from platform of the Great Pagoda

Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour in pen and ink of a view of Rangoon (Yangon) in Burma (Myanmar) from the platform of the Shwe Dagon Pagoda from 'A Series of Views in Burmah taken during Major Phayreâ&#x20AC;&#x2122;s Mission to the Court of Ava in 1855' by Colesworthy Grant. Grant described this view as follows: "The view contained in the accompanying plate is taken from the platform of the Great Pagoda, looking over the town and river towards Dalla. The rustic tiled building in the foreground is a military store godown. The extensive line of triple roofs on the left, commencing at the large gateway which terminates the main street, covers the long flight of ornamented stairs, which gradually ascend the mound on which the great Pagoda stands, and lead to its principal entrance. The prominent object seen at the side is merely one of the accessary or petty pagodas, ornamenting the upper parts of the slope near to the entrance. Beyond are seen the capacious and healthy barracks for the British troops, ranged along the brow of the hilly ground skirting the north-east side of the town, Rugged and hitherto almost impassable ground in that direction has been levelled and cut into fine roads, leading to, and environing the picturesque lake, the scenery about which is exceedingly pretty and European in its aspect. The Pagoda which may be observed converted into a signal tower, is memorable as Sale's Pagoda, a post held by Major-afterwards the celebrated Sir Robert-Sale, and a portion of Her Majesty's 13th Light Infantry, during the war of 1824-25. Of the two other pagodas seen nearer to the river, nearly solitary remnants of the old town of Rangoon, that to the right, octagonal in form, and in excellent preservation, has been made to mark the centre of the new town. In 1846 it was nearly surrounded by a swamp, and reached by a long wooden bridge. It is now the centre obelisk to a square, with its diverging roads, as dry, smooth and orderly as Charing-cross, or the Place de la Concorde. The more strictly native part of the town is observed on the right.'

6. The Frontier, from the Steamer Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a view of the Irrawaddy (Ayeyarwady) River at the frontier between British and Burmese territory from 'A Series of Views in Burmah taken during Major Phayre’s Mission to the Court of Ava in 1855' by Colesworthy Grant. Grant wrote that: '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. ‘It was laid out in 1853-54, with great ability and labour by Major Grant Allan, of the Madras Quarter Master General’s Department, from the summit of the Arracan Yomadoung (or spinal range) to the first ridge of mountains eastward of the Sittang.’ (‘Captain Yule's Report page 228’.) The shore on either side, but more particularly on the west, is hilly and luxuriantly woody, and rich in all the varied and ever changing tints which sun, clouds, elevation and distance confer on large masses of vegetation. In order to obtain this sketch the steamer was for a few minutes checked in mid-stream.'

7. Henzidah - from the Steamer (ဟသၤ ဟသၤာတ) တ Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a view of Henzadah seen from the steamer from 'A Series of Views in Burmah taken during Major Phayre’s Mission to the Court of Ava in 1855' by Colesworthy Grant. Grant wrote that: 'The town of Henzidah, which is two days steam journey from Rangoon, has little to distinguish it from any other Burman town, except that the buildings have the advantage of higher ground, and assume a more comfortable, dry, and wholesome appearance. A very distant view of the Arracan Hills was obtained after leaving this place.'

8. Donabew - from the Steamer ဓႏုျဖဴ Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a view of Danubyu seen from the steamer from 'A Series of Views in Burmah taken during Major Phayre’s Mission to the Court of Ava in 1855' by Colesworthy Grant. Danubyu is the site where Maha Bandoola, the great Burmese general was killed by the British during the First Anglo-Burmese War (1824-26).

9. Myan-Oung, from the Steamer ျမန္ေအာင္ Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a view of Myanaung as seen from the steamer from 'A Series of Views in Burmah taken during Major Phayre’s Mission to the Court of Ava in 1855' by Colesworthy Grant. Grant described this image as follows: 'At Myan-Oung, which is another day's steam journey from Henzidah, and on the same (the western) side of the river, are cantonments for the Pegue Light-Infantry, a body of men raised and organized by Major Nutall...the town portion of this station, which is to the south or left of the locality represented in the drawing, is characterized by a greater collection of old Pagodas and other religious edifices, than had yet been seen in progress of journeying up the river. Besides the distant view of the Arracan range of hills, which here becomes very positive and clear, the borders of the river, after leaving Myan Oung, rise into picturesque elevations, the summit of the principal one of which, forming a commanding point of the river, was selected by the Burmese, during the last war, for the erection of a powerful battery of guns, with which it was intended to intercept the passage of the English war steamers. The design was frustrated, however, by Captain Tarleton taking his boats another route, up one of the broad creeks, which, by a circuit of about a mile, avoided the hill, and joined the Irrawaddy higher up. The country continues elevated, and to increase in attractiveness as it approaches Prome.'

10. Prome, from the Southern heights ျပည္ျမိဳ႕

Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a view over the hills of Prome (Pye) in Pegu (Bago) from 'A Series of Views in Burmah taken during Major Phayre’s Mission to the Court of Ava in 1855' by Colesworthy Grant. Grant described this view as follows: 'The approach is extremely beautiful. The bank towers into a lofty hill, clad in vegetation of the loveliest mossy hue, dotted with patches of dark underwood, and the massive foliage of noble trees...The principal object of interest in Prome is its gilded and more than ordinarily sacred and great Pagoda, conspicuously crowning the summit of a hill overlooking the town and river. It is called the Shwoe-san-dau, or 'Golden Hair,' and is said to enshrine a hair of Gautama, the founder of the Boodhist doctrines. The long flight of steps, reaching from the foot of the hill to the principal entrance, covered by a succession of gilded roofs, form a conspicuous object in the landscape...This view was taken from the heights occupied by the British army during the early war.'

11. Thayet-myo, from the Steamer, looking south သရက္ Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a view, seen from a steamer, of the Irrawaddy (Ayeyarwady) River at Thayetmyo in Magway from 'A Series of Views in Burmah taken during Major Phayre’s Mission to the Court of Ava in 1855' by Colesworthy Grant. Grant described this view as follows: 'This place is the 'Sirraip-mew' of Colonel Symes, and 'Head Quarters of the British Frontier Brigade'...It is five miles below the Frontier Magazine, and Ordnance Depot and station of Meaday, and about eleven from the frontier itself, on the western side of the river. In this plate, looking south, is seen the face of the wooded hill, in some part of which...a seam of coal was found; but unfortunately not of a character to promise any advantage in its exploration. In the plain or valley, at the northern end of this hill, enshrouded by vegetation, is seen a white pagoda, the first and only one of its peculiar character met with before reaching Pagan-myo...'

12. Thayet-myo, from the Steamer, looking north Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Drawing in pen-and-ink and watercolour made by Colesworthy Grant in 1855, depicting a view of the bank of the Irrawaddy (Ayeyarwady) River at Thayetmyo in Magway, Burma (Myanmar). This view at Thayetmyo was described by the artist as follows: â&#x20AC;&#x153;The view to the north contains an interesting group of pagodas, with the customary tzoums and ziyats attached, but seen from so great a distance are necessarily small and undefined in character.â&#x20AC;? It was headed by Arthur Phayre (Commissioner of Pegu and later first Chief Commissioner of British Burma), with Henry Yule (Under-Secretary of the Public Works Department) as Secretary. In addition to diplomatic duties, the mission aimed to obtain accurate information about the country, culture and people of a land little-known to Europeans, and to this end Grant was sent as official artist and Linnaeus Tripe as photographer.

13. The Library, etc., on the bank - Thayet-myo Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a view of a thatched building used as a library on the banks of the Irrawaddy (Ayeyarwady) River at Thayetmyo in Magway 'A Series of Views in Burmah taken during Major Phayre’s Mission to the Court of Ava in 1855' by Colesworthy Grant. Grant described this view as follows: 'The principal object in the second and nearer view of the high bank is a large bungalow termed ‘the Library’, and is, it is believed, used not only as such, but as an Assembly Room, for any other public purpose which the requirements of the little military community may demand. The cantonments are immediately in the rear; and roads and other improvements to the place appeared to be in progress.'

14. Zoungyan-doung, from the Steamer Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a view of Zingyandoung seen from a river steamer from 'A Series of Views in Burmah taken during Major Phayreâ&#x20AC;&#x2122;s Mission to the Court of Ava in 1855' by Colesworthy Grant. This view was described by Grant as follows: '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. On approaching the village of Zoung-gyan Doung, the first halting place of the Mission in the Burman territories, the hills which had lined and beautified, with their purple masses, the western shore, began to recede, and very shortly after leaving this place, disappeared. It was from one of the elevations at this spot that the view of the surrounding scenery is obtained, the romantic beauty of which so excited the admiration of Colonel Symes. A portion of the wooded Island of Loongyee is seen on the right of the sketch.'

15. The bank near Web-ma-soh, and Mission Steamers Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour in pen and ink of the Mission steamers near Web-ma-soh on the Irrawaddy (Ayeyarwady) River from 'A Series of Views in Burmah taken during Major Phayreâ&#x20AC;&#x2122;s Mission to the Court of Ava in 1855' by Colesworthy Grant and dated 14 August 1855. Grant described this view as follows: 'The Eastern shore of the river continues of the same elevated and pictorial character, improved at this spot by a line of white pagodas seen on the summits of the cliffs.'

16. Kama, from the Steamer Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a view of Kama from 'A Series of Views in Burmah taken during Major Phayreâ&#x20AC;&#x2122;s Mission to the Court of Ava in 1855' by Colesworthy Grant. Grant wrote that: 'Quitting Prome, about four hours steaming brings the voyager to the picturesque town of Kama, situated on the right bank of the river. Here, rising from the centre of the town, is a very fine pagoda, which appears to have more than common claims to attention; but far more than by the pagoda itself is the eye arrested by a marvellous pair of gigantic griffins, or nondescript monsters, which, towering far above the dwellings of the people, upon the very margin of the river, form the colossal guardians of the entrance to the Temple... The height of these figures at Kama, as observed from the steamer, appeared to be about thirty feet.'

17. Samaik-gon Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of land flooded by the Irrawaddy (Ayeyarwady) River at Sameikkon from 'A Series of Views in Burmah taken during Major Phayreâ&#x20AC;&#x2122;s Mission to the Court of Ava in 1855' by Colesworthy Grant and dated 27 August 1855. Grant described this view as follows: â&#x20AC;&#x153;Quitting Mengoon, and continuing on the eastern side of the river, the Mission passed the village of Yan-de-boo...The next halting station was Samaik-gon, noted for the production and manufacture of Saltpetre...Ere reaching this spot, the river had so spread, divided, wandered, and widened, as to make it difficult to distinguish at a distance the course of the stream from the fields. The low lands were inundated, presenting that very pictorial appearance always occasioned by the intimate union of rich foliage with clear water. One of those very long bridges so characteristic of Burmah, crosses the inundation in rear.'

18. Silleh-myo , စေလျမိဳ႕ Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a view of Silleh-myo from the Irrawaddy (Ayeyarwady) River from 'A Series of Views in Burmah taken during Major Phayre’s Mission to the Court of Ava in 1855' by Colesworthy Grant and dated 19 August 1855. Grant described the image as follows: 'About three hours steaming brought the flotilla to Silleh Myo, a town on the east bank; at some former time, says Colonel Symes 'an ancient city, which once had been a place of considerable note.' It was said to be famous for its silk manufacture or trade, but nothing of it was now found. Even the Burmah boxes sold here were not made in the place. Several objects of antiquity and interest, however, were found to excite attention and curiosity. Amidst a great number of new and novel shaped pagodas were the remains of numerous ancient temples, which, from the dates of inscriptions found upon one of them, were supposed to be about 270 years old...'

19. Semphyo-Kyoon. White Elephant Island ဆင္ျဖဴကၽြန္း Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of steamers and boats off Senphyoogoon or White Elephant Island on the Irrawaddy (Ayeyarwady) River in Magway from 'A Series of Views in Burmah taken during Major Phayre’s Mission to the Court of Ava in 1855' by Colesworthy Grant on 14 August 1855. Grant described this view as follows: 'An Island or sand chur on the low western bank, where the Steamer was detained for several hours undergoing repairs. The visit of the Mission, however, appeared to have been anticipated, as the Pooà house, or Theatre, was here, as every where else, prepared; a large assemblage of people gathered together, and the performers, Prince and Princess - Buffoon - Wood-demons - Sprites - Singing damsels, and Musicians, all ready to do their customary spiriting.'

20. Mag-way, Pagoda and River, looking north Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a pagoda set on the bank of the Irrawaddy (Ayeyarwady) River at Magwe from 'A Series of Views in Burmah taken during Major Phayre’s Mission to the Court of Ava in 1855' by Colesworthy Grant. Grant wrote that: '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...No opportunity was afforded to sketch the town, as the steamers passed up and anchored some little distance above it, at a richly wooded and picturesque spot, surrounded by palms of extraordinary magnitude, and a variety of trees of more umbrageous character. The chief subject of this drawing is a very beautiful pagoda, the principal temple of the place, to which much sanctity is attached, crowning a bold promontory that commands an extensive view of the broad river. This temple is called the ‘Mya Thalwon’, (or ‘the Emerald Couch’) from being reputed to contain a relic of the bed of Gautma...'

21. The Eastern Bank above Mugway Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of the banks of the Irrawaddy (Ayeyarwady) River near Magwe in Burma (Myanmar) from 'A Series of Views in Burmah taken during Major Phayreâ&#x20AC;&#x2122;s Mission to the Court of Ava in 1855' by Colesworthy Grant on 14 August 1855. A mission report stated that the banks on this section of the Irrawaddy River were made up of: 'Bold, crag-like masses of sandstone, or sandy clay, cut into ravines, or water courses, by the rains, here and there enriched with patches of thick underwood, rise to a great height: and upon the ledges which their slopes present, little villages, or clusters of cottages, are perched, whilst, behind them, tall palmyras, from the most unlikely looking soil, shoot up into the air, and seem to belie the general aspect of sterility about them...' 53

22. The Mud Volcanoes at Memboo 54067 Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour in pen and ink of a distant view of the mud volcanoes at Minbu from 'A Series of Views in Burmah taken during Major Phayreâ&#x20AC;&#x2122;s Mission to the Court of Ava in 1855' by Colesworthy Grant. Grant wrote that: 'These volcanic hillocks, resembling gigantic ant-hills, varied in height from fifteen or twenty, to probably twenty-five feet. Those represented in the lower drawing appeared to have dried up, but, whilst engaged upon the other sketch, a shout from the lads directed attention to the larger of these hills, which had that moment burst out afresh. Memboo is situated on the western shore of the Irrawaddy, and is eighteen miles above Menhla.'

23. Oil Spring at Memboo 56

Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour in pen and ink of an oil spring at Minbu from 'A Series of Views in Burmah taken during Major Phayreâ&#x20AC;&#x2122;s Mission to the Court of Ava in 1855' by Colesworthy Grant. Grant wrote that: 'Within about half a mile of the Mud volcanoes this petrolium spring was found. Its surface was level with the earth, and would hardly have attracted attention but for the bubbling in the centre, and the various colours of its oily coating...â&#x20AC;? Further north from the location of this spring were the well-known oil fields at Yenangyaung.

24. The Mud Volcanoes at Memboo 54066 Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour in pen and ink of mud volcanoes at Minbu from 'A Series of Views in Burmah taken during Major Phayreâ&#x20AC;&#x2122;s Mission to the Court of Ava in 1855' by Colesworthy Grant. Grant wrote that the mud flows at Minbu were: 'in the midst of a little desert of mud, fed by continued streams from the mouths of the volcanoes...The upper sketch is a near view of that seen in the background of the lower, up to which the party have toiled their slippery way. The jet of blueish oily looking mud is seen at the moment of its action, or pulsation, when a portion is thrown over a fissure in the side, and divides into streams in all directions. Lubricated by this new deposit, and the old being re-moistened by the rain, the ascent was most difficult, affording to an attendant group of excited Burmese lads the intensely delightful hope of seeing the 'kala' (foreigner) in a sprawl, - as they themselves were frequently.'

25. The bank in sight of YĂŠ-nan-gyoung Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of the banks of the Irrawaddy (Ayeyarwady) River close to Yenangyaung in Magway from 'A Series of Views in Burmah taken during Major Phayreâ&#x20AC;&#x2122;s Mission to the Court of Ava in 1855' by Colesworthy Grant on 14 August 1855. Grant described this view as follows: 'The steamers here taking a mid-channel course, afforded a more extended view of the line of sandy cliffs, the slopes of which continue to exhibit the same scanty dottings of brushwood, that thickens in the more nourishing depths of the ravines. The town of Yeanan-gyoung now becomes visible.' 60

26. The bank approaching YĂŠ-nan-gyoung Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of the banks of the Irrawaddy (Ayeyarwady) River approaching to Yenangyaung in Magway from 'A Series of Views in Burmah taken during Major Phayreâ&#x20AC;&#x2122;s Mission to the Court of Ava in 1855' by Colesworthy Grant. Grant described this view as follows: 'The barren character of the soil increases as the country of the Petroleum or Earth Oil is approached, - stunted shrubs only, and these very sparingly, springing from the crevices and hollows in the cliffs. The lower portion of the bank is of sandy stony appearance, whilst the upper layers are here of a red earth, or gravelly character.' 61

27. Yé-nan-gyoung, Petroleum or Earth Oil Creek Photographer: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink Drawing in pen-and-ink and watercolour made by Colesworthy Grant in 1855, depicting a view of the town of Yenangyaung in Magway, Burma (Myanmar). This view was described by the artist as follows: “The town, viewed from the deck of the steamer. Yeanan-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 reached on the fourteenth day of the journey. The town lies in one of the numerous hollows found between the barren sandy hills, of which this bank of the river had, throughout the day, presented so singular and continuous a succession...Every eminence around was crowned by pagodas, or monastic buildings, which increased in number, singularity, beauty and magnitude, as the journey progressed. The most remarkable and imposing of these seen here was the Pagoda occupying the centre of the drawing - It was built on five or six terraces of red brick, which were ascended by a flight of steps, divided mid-way by a kind of portico of two arches. To the right was another pagoda, apparently of more modern erection, of octagonal and very graceful form, and tastefully elaborated architecture; and to the extreme right two monastic buildings, one of wood and the other of brick, are observed, and are found to crown the high bank of the creek from which the place takes its name. ‘(See Sketch, No. 19).’ The boats seen crowding around the shore, many of which were very large, are used mostly for transport of the petroleum oil, which is frequently stowed ‘in bulk’ like salt or coals.”

28. The Oil Wells, YĂŠ-nan-gyoung Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour in pen and ink of a view of the Oil Wells at Yenangyaung from 'A Series of Views in Burmah taken during Major Phayreâ&#x20AC;&#x2122;s Mission to the Court of Ava in 1855' by Colesworthy Grant dated 16 August 1855. Grant wrote that: 'situated at about two miles and-a-half from the town...The Wells, three or four of which may be observed in the drawing, are distributed at irregular intervals. They are said to be about one hundred in number, and to cover a space of probably half a square mile...Their depths vary from about 150 to 250 feet. The one nearest to the foreground in the drawing, measured by the rope with which the oil bucket was raised, proved to be 100 cubits, or 240 feet. The oil is drawn up by a bucket as water from an ordinary well. The rope passes over a wheel or pulley, and on the bucket descending to the bottom, the attendant labourer passes the end of the rope over his shoulder, and running down the side of the ravine to the requisite distance, draws the full bucket to the mouth of the well, near which carts, as seen in the sketch, with earthen pots prepared for its reception, are in waiting to carry it away to the town. These wells are said to be exhausted in, probably, ten years, but can be renewed by further digging. The price of the oil has now risen to double its former value.'

29. Yé-nan-gyoung, from the hills Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour in pen and ink of a view of the town at Yenangyaung from 'A Series of Views in Burmah taken during Major Phayre’s Mission to the Court of Ava in 1855' by Colesworthy Grant. This view was described by Grant as follows: “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.'

30. Precipitous banks at YĂŠ-nan-gyoung Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour in pen and ink of a view of the banks at Yenangyaung from 'A Series of Views in Burmah taken during Major Phayreâ&#x20AC;&#x2122;s Mission to the Court of Ava in 1855' by Colesworthy Grant dated 16 August 1855. This view was described by Grant as follows: '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 banks, and the wild, broken, arid and barren nature of the whole country about this most remarkable place.'

31. View. from the Creek, YĂŠ-nan-gyoung Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour in pen and ink of a view of the creek at Yenangyaung from 'A Series of Views in Burmah taken during Major Phayreâ&#x20AC;&#x2122;s Mission to the Court of Ava in 1855' by Colesworthy Grant. Grant wrote that: '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, with the exception of a small patch of water here and there, was a thick bed of dry sand, along which the carts were seen passing to and fro, engaged in conveying the oil from the Wells. The pagoda and wooden tzoum...crowning the higher portion of the bank.. [the] triple roofed wooden edifices on the lower portion of the bank, are the Kioungs or monasteries of the Priests, whose residences are always contiguous to the pagodas. This may therefore be taken as the representation of a perfect group of Boodhist ecclesiastical buildings.'

32. Chengoo or Sengoo-Oung Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a pagoda at Chengoo Oung from 'A Series of Views in Burmah taken during Major Phayreâ&#x20AC;&#x2122;s Mission to the Court of Ava in 1855' by Colesworthy Grant and dated 20 August 1855. Grant wrote that: 'After four hours further journeying the traveller reaches Chengoo Oung, also on the east bank, where, on a platform surrounded by a parapet, a strikingly picturesque, rather novel shaped, and ornamented Pagoda (the subject of this sketch) crowns a commanding point of the high bank, and forms a very pictorial and prominent landmark. Vast quantities of petrified wood were here found lying about in every direction. The Palmyra appeared growing in perfection, and, in front of a kioum, surprise was felt on finding two remarkably fine cocoa-nut trees; it having been long since that tree had been met with. The poor, however, complained of the poverty of the soil, from which Rice was not obtainable, and they were about to try the cultivation of Maize. This was the last place visited before arrival at the far famed PugĂ n.'

33. The Bank at Theroukmyeon (or Myenka-toung) (between Menhla and Mengoon) Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 74

Watercolour in pen and ink of the cliffs at Taroup Myo on the bank of the Irrawaddy (Ayeyarwady) River from 'A Series of Views in Burmah taken during Major Phayreâ&#x20AC;&#x2122;s Mission to the Court of Ava in 1855' by Colesworthy Grant dated 13 August 1855. This is one of several sketches Grant made recording the rock formations of the cliffs he passed while journeying on the river. He wrote of this image: '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.'

34. The Banks of the Irrawaddy - Below Pagân and near the frontier Artist: Grant, Coles worthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of the Banks of the Irrawaddy south of Pagan and near the frontier from 'A Series of Views in Burmah taken during Major Phayre’s Mission to the Court of Ava in 1855’ by Colesworthy Grant. These drawings were described by the artist as follows: 'Of these four hasty sketches the upper two, representing the shore nearly opposite to Pagan, serve to shew the desolate, wild, and barren character of the country in that neighbourhood, in contrast with the green-clad hills and fertile aspect of the land as it approaches the richer and moister soil of the southern and British Provinces. The two lower sketches belong to the shore between Meaday and the Frontier.'

35. Panoramic view of Pagân, looking N.E. by N Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a panoramic view of the temples at Pagan (Bagan) in Burma (Myanmar) looking north east by north towards the Irrawaddy (Ayeyarwady) River from 'A Series of Views in Burmah taken during Major Phayre’s Mission to the Court of Ava in 1855' by Colesworthy Grant. Together with a privately-printed book of notes, his drawings give a vivid account of the journey and a number were used for illustrations to Henry Yule’s ‘A Narrative of the mission sent by the Governor General of India to the Court of Ava in 1855’ published in 1858. More than 5,000 stupas and temples still stand on the plain at Pagan, an abandoned city on the east bank of the Irrawaddy which was the royal capital of an extensive Burmese kingdom between the 11th and 13th centuries. This panoramic view is one of six. Grant drew this view from the Gawdawpalin Pahto, one of the largest temples at Pagan. He stated that: '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 expectation'.

36. Panoramic view of PagĂ˘n, looking E. by S. Artist: Grant, Coles worthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour in pen and ink of a panoramic view of the temples at Pagan (Bagan) in Burma (Myanmar) from 'A Series of Views in Burmah taken during Major Phayreâ&#x20AC;&#x2122;s Mission to the Court of Ava in 1855' by Colesworthy Grant. More than 5,000 stupas and temples still stand on the plain at Pagan, an abandoned city on the east bank of the river which was the royal capital of an extensive Burmese kingdom between the 11th and 13th centuries. This view looking south-east is one of six panoramic views with various orientations which Grant sketched at Pagan from a vantage point from the Gawdawpalin temple. Grant stated that: 'This plate embraces a view of the most interesting of the wonder creating temples of Pagan.' He describes the Ananda temple on the left noting that it 'continues to be used, and is the mostfrequented as a place of worship' and the Thatbyinnyu Pahto 'occupying the centre of the drawing'. This temple reaches a height of 61m.

37. Panoramic view of, PagĂ˘n, looking S.S.E. Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a panoramic view of the temples at Pagan (Bagan) in Burma (Myanmar) from 'A Series of Views in Burmah taken during Major Phayreâ&#x20AC;&#x2122;s Mission to the Court of Ava in 1855' by Colesworthy Grant. More than 5,000 stupas and temples still stand on the plain at Pagan, an abandoned city on the east bank of the Irrawaddy which was the royal capital of an extensive Burmese kingdom between the 11th and 13th centuries. This view of Pagan looking south south-east is one of six panoramic views with various orientations which Grant sketched from the top of a temple. Grant described this view as follows: 'A continuation, stretching to the river, of the wilderness of ruins...At the point where two principal diagonal roads are seen to meet in this sketch, and thence to curve to the left, some remains of the ancient wall or rampart of the city are observable.'

38. Panoramic view of Pagân, looking N.N.W. Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a panoramic view looking north-north-west of houses and temples at Pagan (Bagan) in Burma (Myanmar) from 'A Series of Views in Burmah taken during Major Phayre’s Mission to the Court of Ava in 1855' by Colesworthy Grant. This album consists of 106 landscapes and portraits of Burmese and Europeans documenting the British embassy to the Burmese King, Mindon Min (reigned 1853-1878). More than 5,000 stupas and temples still stand on the plain at Pagan, an abandoned city on the east bank of the Irrawaddy which was the royal capital of an extensive Burmese kingdom between the 11th and 13th centuries. This image is one of six panoramic views of Pagan seen from different orientations that Grant sketched from a vantage point on a temple. Grant described the scene as follows: 'Complet[ing] 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 impracticable to sketch the whole circle from one spot. The formation of the Temple, from whence the views were taken, rendered it necessary to shift - probably fifty feet - from side to side of the building, in order to obtain the different sections of the landscape around. Making allowance for the apparent trifling inaccuracy thus created, the artist thinks it may not be unnecessary or unimportant to add that, having used some little ordinary mechanical aid, in order to fix the position of the principal objects in the landscape, he believes every reliance may be placed on the entire and strict accuracy of the general details of these drawings as a Panorama.' 85

39. Panoramic view of PagĂ˘n, looking W. Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a panoramic view looking to the west of temples and houses at Pagan (Bagan) in Burma (Myanmar) by Colesworthy Grant from 'A Series of Views in Burmah taken during Major Phayreâ&#x20AC;&#x2122;s Mission to the Court of Ava in 1855'. More than 5,000 stupas and temples still stand on the plain at Pagan, an abandoned city on the east bank of the Irrawaddy which was the royal capital of an extensive Burmese kingdom between the 11th and 13th centuries. This image is one of six panoramic views of Pagan seen from different orientations that Grant sketched from a vantage point on a temple. Grant described this scene as follows: '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 the series embraces a portion of the town near the river embosomed in a cluster of pretty and luxuriant foliage.'

40. Panoramic view of PagĂ˘n, looking S.W. by S. Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a panoramic view at Pagan (Bagan) in Burma (Myanmar) from 'A Series of Views in Burmah taken during Major Phayreâ&#x20AC;&#x2122;s Mission to the Court of Ava in 1855' by Colesworthy Grant. This album consists of 106 landscapes and portraits of Burmese and Europeans documenting the British embassy to the Burmese King, Mindon Min (reigned 1853-1878). More than 5,000 stupas and temples still stand on the plain at Pagan, an abandoned city on the east bank of the Irrawaddy which was the royal capital of an extensive Burmese kingdom between the 11th and 13th centuries. This image is one of six panoramic views of Pagan seen from different orientations that Grant sketched from a vantage point on a temple. In this view, the artist's stool and sketch book can be seen. Grant stated that: 'The massive masonry seen in the foreground ...are portions of the ornament and terraces of the Gauda Palon, from whence the view is taken...'

41. Boo Phya, or Pumpkin Pagoda, bank of the River, Pagân Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a view of the Bupaya (Pumpkin) Pagoda on the riverbank at Pagan (Bagan) from 'A Series of Views in Burmah taken during Major Phayre’s Mission to the Court of Ava in 1855' by Colesworthy Grant. This album is made up of 106 landscapes and portraits of Burmese and Europeans documenting the British embassy to the Burmese King, Mindon Min (r.1853-1878). More than 5,000 stupas and temples still stand on the plain at Pagan, an abandoned city on the east bank of the river which was the royal capital of an extensive Burmese kingdom between the 11th and 13th centuries. The Bupaya was built in c.850 by King Pyusawti and is a stupa, a solid domed structure enshrining Buddhist relics. It takes its name from the bu or gourd plant, and is traditionally connected to the legend of Pyusawti. This recounts that the young hero vanquished Five Great Menaces ravaging the city of Pagan. One of these was the invasive growth of gourd plant vines. In reward he was given the hand of the king’s daughter in marriage and on acceding to the throne built pagodas at each of the places where he had triumphed over the Menaces. The temple was completely destroyed in the devastating earthquake of 1975, but has since been rebuilt. Grant identified the boats in this view as follows: 'The English Vessels at anchor are the Steamer ‘Bentinck’ and Flat ‘Sutlege’, which conveyed the members of the Mission; and in the rear the Steamer ‘Nerbudda’ and Flat ‘Panlany’, having on board a Company of Her Majesty's 84th Regiment, fifteen of the 8th Irregular Cavalry with their horses, and twenty five Seamen of the War Steamer ‘Zanobia’, as escort, together with other followers of the Mission. The cabin boat made fast to the ‘Nerbudda’ Steamer, bearing the royal flag of Ava, conveyed one of the Burmese Officers of the Deputation.' 91

42. Meen-gyan, from the Steamer Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a view of Myingyan seen from the steamer from 'A Series of Views in Burmah taken during Major Phayre’s Mission to the Court of Ava in 1855' by Colesworthy Grant. This album consists of 106 landscapes and portraits of Burmese and Europeans documenting the British embassy to the Burmese King, Mindon Min (r.1853-1878). Grant described the view as follows: 'At Meen-gyan, indeed, the Mission were more the spectacle than spectators, as a multitude of full four or five thousand Burmese had assembled on the shore to witness the arrival of the strangers and their marvellous ships; whilst the over-powering heat of the weather, the sun, and the place, rendered it advisable to refrain from venturing to stroll on the shore until evening...In the centre of the drawing will be observed two bamboo and mat buildings; a red flag decorating and marking either end of the front of the principal one. These were the Pooé houses or Burmese Theatres...The lesser construction, or booth, on the right, appertained to the exhibition of puppets, but the larger was devoted to the ‘regular drama;’ an operatic performance which is said frequently to last all night, and over several days! In the extreme distance to the right, not embraced in this view, was still to be seen the ‘cloud-capped’ hill of Paopa-toung, an object of attention and interest from the time of arrival at Yea-nan-gyoung...The departure of the Mission at 8 the next morning, was watched by another vast concourse of many thousands of people, lining the bank of the river from end to end of the town.'

43. The bank near Kannee Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of the banks of the Irrawaddy (Ayeyarwady) River in Burma (Myanmar) near Kannee from 'A Series of Views in Burmah taken during Major Phayreâ&#x20AC;&#x2122;s Mission to the Court of Ava in 1855' by Colesworthy Grant. This is one of several sketches Grant made recording the striking and often massive rock formations of the cliffs he passed on the river. Of this drawing he wrote: â&#x20AC;&#x153;Proceeding on towards Yea-nan-gyoung, the banks gradually assume a more perpendicular and barren aspect.

44. The Bank at Theroukmyeon (or Myenka-toung), higher up Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour in pen and ink of the cliffs at Taroup Myo on the bank of the Irrawaddy (Ayeyarwady) River. This is one of several sketches Grant made recording the rock formations of the cliffs he passed on the river, and the second of two depicting a pagoda which he believed was known as the 'Myenka-Toung'. He wrote of this image: 'The same, higher up, shewing a succession of similar cliffs, crowned, divided, and based by thick vegetation. The Pagoda now seen is believed to be that already referred to, which thirty years ago was supposed to be in danger from the river.' 95

45. The Bank at Theroukmyeon (or Myenka-toung) Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 96

46. Kyouk Taloung from the Steamer Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour in pen and ink of a view of Kyouktaloung from the steamer from 'A Series of Views in Burmah taken during Major Phayre’s Mission to the Court of Ava in 1855' by Colesworthy Grant. Grant wrote that: “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 town for probably a mile, the steamer anchored at a woody spot marked by an exceedingly handsome Pagoda, high perched on platform and bank, and surrounded by a parapet, in that commanding position of which the Burmese always know so well the effect and value. Kyouk means stone. The name of the place therefore is believed to bear some reference to the patches of dark rock which are found upon the bank and elsewhere in its immediate neighbourhood.'

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47. View in Kyouk Taloung; looking over the River Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour in pen and ink of a view of pagodas on a hill next to the Irrawaddy (Ayeyarwady) River at Kyouktaloung from 'A Series of Views in Burmah taken during Major Phayreâ&#x20AC;&#x2122;s Mission to the Court of Ava in 1855' by Colesworthy Grant. Grant wrote that the scene was: '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 white spires and golden tees above the rich and varied vegetation around them, were over-topped by a remarkably graceful and towering tree of the richest and lightest of green, which seemed to mark and to crown the very centre of the high ground on which the buildings were clustered. The northern end of this elevated ground may be observed cut down and faced with brickwork, in which mysterious looking cave-like entrances are seen. These were understood to be the residences of some of the monastic body...This sketch was taken under the shadow of a ruined pagoda, on a rising bit of land, which was so fenced about with briers and thorns as to be difficult of approach.'

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48. View in Kyouk Taloung; looking over the River N.E. Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour in pen and ink of a view looking north-east over the Irrawaddy (Ayeyarwady) River at Kyouktaloung from 'A Series of Views in Burmah taken during Major Phayreâ&#x20AC;&#x2122;s Mission to the Court of Ava in 1855' by Colesworthy Grant. This album is made up of 106 landscapes and portraits of Burmese and Europeans documenting the British embassy to the Burmese King, Mindon Min (r.1853-1878). The mission took place after the Second Anglo-Burmese War in 1852 and the annexation by the British of the Burmese province of Pegu. It was despatched by the Governor-General of India Lord Dalhousie on the instructions of the East India Company, to attempt to persuade King Mindon to sign a treaty formally acknowledging the extension of British rule over the province. The mission started out from Rangoon and travelled up the Irrawaddy (Ayeyarwady) River to the royal capital at Amarapura. Grant was the official artist on the mission. In recognition of his skill, he was presented with a gold cup and ruby ring by the Burmese King. Grant wrote that: 'A few miles above this station the Mission was met by a large fleet of war boats, about forty in number, and deputation from the capital, from which Kyouk-taloung is distant nineteen miles.'

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49. The British Residency - Toung-um-mah Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour in pen and ink of the British Residency at Taungthaman Lake in Amarapura from 'A Series of Views in Burmah taken during Major Phayreâ&#x20AC;&#x2122;s Mission to the Court of Ava in 1855' by Colesworthy Grant. The Residency building housed members of the mission party during their stay at Amarapura. Grant wrote that: 'The building ...[was] constructed under the superintendence of Mr. Camaretta, with the friendly aid of Mr. Spears, at an expence of between ten and fifteen thousand Rupees. The building, large and commodious, was formed of substantial teak wood; the floors of bamboo, and the walls of neat matting made from the same material. The lower part and joinings were finished with plank in the form of wainscoting, which gave to the workmanship a very complete and respectable appearance. Two large rooms, carpeted with printed felt rugs, occupied the centre of the building. The principal of these rooms, upwards of seventy feet in length, and furnished with dining table, punkah and chairs, was tastefully decorated, at either end, with large artificial trees, springing from Chinese vases, loaded with artificial but edible and renewable fruit; whilst the verandah in front was furnished with four large silver water jallahs, and, below, two others, of gigantic proportions, each furnished with ladles of the same costly material, and all realizing an appearance of semi-barbarous pomp, and rustic elegance. The indispensable PooĂ¨, or opera house, with conical roof, is seen in front, partly intercepted by the trees. The house stood in the centre of a square of about eighty yards diameter, and, except at the gateways, the enclosure was surrounded on the inner side by a continuous line of mat Barracks for the European soldiers, (Her Majesty's 84th,) the sailors and irregular Cavalry of the escort, and the servants; and on the outer side, a corresponding line of shed for the Burmese guard of about 600 armed men...The quarters of the irregular Cavalry (8th) were in rear of the spectator, and their horses were picketed or tethered in front under the trees. One of the men is seen on sentry duty.'

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50. Further part of The British Residency Toung-um-mah Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour in pen and ink of the entrance to the British Residency at Amarapura from 'A Series of Views in Burmah taken during Major Phayreâ&#x20AC;&#x2122;s Mission to the Court of Ava in 1855' by Colesworthy Grant. Grant wrote that this view: '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 on the other of Captain Mackenzie, commanding the Irregular Cavalry, and Lieutenant Heathcote of the Indian Navy. The British flag, under special charge of the Blue Jackets, floats from the bamboo staff near the entrance, and the Irregular Cavalry quarters are seen on the left.'

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51. The Kings Palace, Exterior View, from within the Royal grounds Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a view of the King's Palace at Amarapura from 'A Series of Views in Burmah taken during Major Phayre’s Mission to the Court of Ava in 1855' by Colesworthy Grant. The mission started out from Rangoon (Yangon) and travelled up the Irrawaddy (Ayeyarwady) River to the royal city of Amarapura, founded in 1782. Today, little remains of the royal palace visited by the mission. Grant wrote that 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 entirely of wood, and...is gilt. The length of the terrace or basement is about 260 feet...and the height of the spire is said to be 101 cubits...The steps by which the Mission entered the hall of audience are seen, at the near end of the basement.'

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52. The Throne and audience Chamber, Palace Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of an interior view of the audience chamber in the Palace at Amarapura looking towards the throne from 'A Series of Views in Burmah taken during Major Phayre’s Mission to the Court of Ava in 1855' by Colesworthy Grant. Grant wrote that the audience chamber in this view was 'called ‘Thee-ha-thuna-yàzà-pulleng’, and used only on occasions of importance...the blaze and brilliancy of the colonnaded hall, with its choir and transepts, its elaborately ornate and singular throne, glittering in mosaic and gold...' Today, little remains of the palace buildings at Amarapura.

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53. Street, and Eastern gate of Umeerapoora Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour in pen and ink of a view of the eastern entrance of Amarapura from 'A Series of Views in Burmah taken during Major Phayre’s Mission to the Court of Ava in 1855' by Colesworthy Grant. The mission started out from Rangoon (Yangon) and travelled up the Irrawaddy (Ayeyarwady) River to Amarapura, a royal city founded in 1782 on the east bank of the river. Amarapura remained the capital of the Konbaung dynasty kings until 1823, after which time the capital moved several times between Amarapura and nearby Ava. In the late 1850s, Mindon Min moved the capital to Mandalay. Grant, the official artist of the British mission in 1855, made a series of panoramic drawings of the city. Amarapura was originally laid out on a square plan, with high brick walls surrounded by a moat. The walls were inset with twelve gateways crowned with tiered wooden pavilions characteristic of sacred Burmese architecture known as “pyathat”. According to Grant this gate, Ywè-dau-yoo-Taga, was only used for grand public ceremonies or for the movement of the royal elephants. From left to right, he identifies the Yooung Dau or chief hall of Justice, the gilded spire of the Palace, the Swè-dau-zeen temple and the Teya Yooung or court for the trial of civil cases. The tower in the centre was used for time-keeping. Grant wrote that: 'two men are seen to sound the periods of the day, by alternate strokes on a large bell, and a drum or gong. The former is struck on the outside, with the end of a bar of wood, which appeared to be slung like a battering-ram; - the latter with a massive round-headed mallet, swung with the full impetus afforded by a long handle and a strong arm. The periods are timed by a water clock.' 113

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54. Panoramic view of Umeerapoora. Looking E. Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour in pen and ink of a panoramic view of Amarapura looking towards the east from 'A Series of Views in Burmah taken during Major Phayre’s Mission to the Court of Ava in 1855' by Colesworthy Grant. Amarapura remained the capital of the Konbaung dynasty kings until 1823, after which time the capital moved several times between Amarapura and nearby Ava. In the late 1850s, Mindon Min moved the capital to Mandalay. Grant, the official artist of the British mission in 1855, made a series of panoramic drawings of the city from the residence of General D’Orgoni, a French adventurer, situated to the west of the walled citadel. The city was originally laid out on a square plan, with brick walls surrounded by a moat. Grant claimed that: 'This laborious and minutely detailed section of the Panorama embraces the whole of the walled city of Umeerapoora, with the King’s Palace rearing its elegant pyasath in the centre...From this view of the capital it will be seen that the great collection of pagodas, and other religious edifices of Umeerapoora, are not within but exterior to the walled city. Of these edifices the principal, which is seen towering high above all the others, is called the ‘Patway-dau-gee’...together with the greater number of those [temples] represented in this drawing, which are all in perfect and careful, preservation, were partially thrown down (for the second time) by an earthquake which occurred during the past year (1856), but have all been restored by the King to their former state.'

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55. Panoramic view of Umeerapoora. Looking N. Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour in pen and ink of a panoramic view of Amarapura looking towards the north from 'A Series of Views in Burmah taken during Major Phayreâ&#x20AC;&#x2122;s Mission to the Court of Ava in 1855' by Colesworthy Grant. In the late 1850s, Mindon Min moved the capital to Mandalay. Grant, the official artist of the British mission in 1855, made a series of panoramic drawings of the city from the residence rawaddy (Ayeyarwady) River to Amarapura, a royal city founded in 1782 on the east bank of the river. Amarapura remained the capital of the K of General Dâ&#x20AC;&#x2122;Orgoni, a French adventurer, situated to the west of the walled citadel. The city was originally laid out on a square plan, with brick walls surrounded by a moat. Grant wrote that: 'A very beautiful and woody Island...appearing to divide the river in mid-stream, covered with rich dense foliage, amidst which several snug villages appeared to be nestled and shaded, was in itself, when lit by the morning sun, streaming over the eastern mountains...A Kyoum on the eastern margin, high raised upon piles, and at the rainy reason of the year cut off from the island, isolated by water, which gives to the building the appearance of a floating Monastery, adds a picturesque feature to the scene... The thatched buildings occupying the fore-part of this picture are of that kind always tenanted by tradesmen, artizans, and...those who go to make up the mass of the population. The street running northward through the view is the Yattan, which is occupied almost exclusively by shops for sale of Rice, Lacquered-ware, British Piece and China Goods.' 117

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56. Panoramic view of Umeerapoora. Looking S. Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour in pen and ink of a panoramic view of Amarapura looking towards the south from 'A Series of Views in Burmah taken during Major Phayre’s Mission to the Court of Ava in 1855' by Colesworthy Grant. Grant wrote that this view: 'down the continuation of the Yattan road on the left, and into the dense foliage which there begins to spread out...is the ‘Naga-Phiya’, or ‘Naga-you-Phiya’, a temple built partly in the form of a Dragon. The lower part, raised on a handsome double platform, is a highly wrought Tzoum-like temple, the hinder part of which, like the hobgoblin of a dream, merges in the body of the scaly monster whose terrible head is reared aloft and forms a spire over the temple. It is said to typify a legend in the life of Gautma...'

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57. View of S. West corner of the City Wall, Umeerapoora Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of the south-west corner of the city walls of Amarapura from. Amarapura was originally laid out on a square plan, with high brick walls surrounded by a moat. The walls were inset with twelve gateways crowned with tiered wooden pavilions characteristic of sacred Burmese architecture known as â&#x20AC;&#x153;pyathatâ&#x20AC;?. Grant wrote that: '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 other instances the effect is destroyed by the presence of some rustic and shapeless hovel half in ruins. The moat here ceases, - a great portion of the southern side, the right of the pagoda, being skirted at no great space, by the lake Toung-um-mah.'

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58. West Gate and part of City Wall, Umeerapoora Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour in pen and ink of the west gate and city walls of Amarapura from 'A Series of Views in Burmah taken during Major Phayre’s Mission to the Court of Ava in 1855' by Colesworthy Grant. Amarapura was originally laid out on a square plan, with high brick walls surrounded by a moat. The walls were inset with twelve gateways crowned with tiered wooden pavilions characteristic of sacred Burmese architecture known as “pyathat”. Grant wrote that: “This view was taken from the terrace of Mr. Spear’s residence, and overlooked the broad moat, - the causeway or bridge which crosses it, and the western gate in the wall of the City, which on the exterior appeared to be about 17 or 18 feet in height... The gateway is honorably surmounted by a triple-roofed covering, - serving as ornament to the gate and protection to warders or sentries. The King’s Palace is seen rising from the centre of the city, and on the extreme left appears the triple-roofed and apparently tiled dwelling of the Ein-she-men or Crown Prince. The Mountains to the East of Umeerapoora close in the back ground.'

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59. Panoramic view of Umeerapoora. Looking S.E. Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a panoramic view of Amarapura looking towards the south-east from 'A Series of Views in Burmah taken during Major Phayreâ&#x20AC;&#x2122;s Mission to the Court of Ava in 1855' by Colesworthy Grant. Grant wrote that: 'This division includes an exceedingly elaborate and imposing group of Pagodas, Kyoums and brick Tzoums, together with numerous private dwellings of the better class which are roofed with wood. Between the very elegant, large and gilt pagoda, which rises above the other buildings, and the next temple to the south, will be observed a lower building, having a square gilt spire and gable, terminating in the customary pinnacle and Tee. This very beautifully ornamented and gilt Tzoum, one amongst the more attractive objects of the city, a favourite resort of the Brahmins, and called the â&#x20AC;&#x2DC;Seckya-te-ya-phiya'...was built by the late King, and contains a gigantic copper figure of Gautma, which, including the pedestal, is about twenty four feet in height...The large brick building in the centre, to the right of the palm tree, is a Kyoum, or Monastery, of more than ordinary dimensions and importance. Between all these buildings is seen the Lake Toungum-mah, spanned at further extremity of the picture by the long wooden bridge already noticed. Looking across the Lake, midway between the Seckya-te-ya-phiya and the large brick monastery, and intersected by a Tugoon-dyn, or Henza-post, may be dimly seen a long line of building. This was the outer enclosure of the British Residency, built expressly for the reception and accommodation of the Mission. Beyond the Lake is a continuation of the eastern mountains, which here occupy a more receding position.' 125

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60. Panoramic view of Umeerapoora. Looking N.W. Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour in pen and ink of a panoramic view of Amarapura looking towards the north-west from 'A Series of Views in Burmah taken during Major Phayre’s Mission to the Court of Ava in 1855' by Colesworthy Grant. Grant, made a series of panoramic drawings of the city from the residence of General D’Orgoni, a French adventurer, situated to the west of the walled citadel. The city was originally laid out on a square plan, with brick walls surrounded by a moat. Grant wrote that: 'This view embraces a further part of the town on the river side, together with a continuation of the Sagain hills...The numerous green islands, with which the river is studded, are cultivated, and produce in great abundance a variety of vegetables for the Umeerapoora market...The very elegant and elaborately formed pagoda in this picture is called the ‘Set-thau-ya-phiya’, the height of which is stated to be about fifty cubits, or 75 feet. The ornamented post near the entrance, which is seen guarded by a pair of the usual leonine warders, is another form of the ‘Tugoon-dyn’, having, in place of the ‘Henza’, a richly carved, winged and gilt figure, believed to represent a ‘Nat’, or spirit.'

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61. Umeerapoora, from the long wooden Bridge, crossing the Lake Toung-ummah Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour in pen and ink of the long wooden Bridge crossing the Lake Toung-ummah from 'A Series of Views in Burmah taken during Major Phayreâ&#x20AC;&#x2122;s Mission to the Court of Ava in 1855' by Colesworthy Grant (1813-1880). The U Bein Bridge, situated to the south-east of the city, is the longest teak crossing in the world and measures 1.2 km. Grant wrote that: 'The road to and from the city, during the rainy season, or time of the inundations, lays exclusively over this bridge, making the journey into the town between three and four miles. On the innundations subsiding, an old dilapidated, and hitherto submerged bridge of bricks, at the northern end of the lake, began to make its appearance, and in a short time afforded a rough and very muddy passage over to the north-east corner of the City. It was over the former, the wooden bridge, that, on the morning of the deputation, the Irregular Cavalry escort, and the horses intended as presents for the King, passed; when two of the latter taking fright, or a freak, fell or leaped into the lake, and had to swim to the opposite side...'

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62. A Kioum or Monastry, near the British Residency Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Grant wrote that this monastery was a 'strikingly pictorial and handsome building, called the 'Tha-tathan-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 judicious and tasteful arrangement of its parts, and the elegance of its ornamental details, and golden spires, formed a combination of the attractive which was supported and heightened by the presence of massive and graceful foliage of tamarind and other trees around. With exception of the steps, which are invariably formed of brick, the entire structure is of wood. It was built by a rich merchant, and the gilding of the interior, which is said to be exceedingly beautiful, is stated to have cost not less than a Lac of Roopees. It was situated on the road from the long wooden bridge to the Residency; was the handsomest specimen of its kind which had been seen, and therefore considered a good subject for a careful and patient delineation.'

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63. The White Elephant Palace, within Royal Palace grounds Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of the ceremonial pavilion in the Palace occupied by a rare and auspicious white elephant kept by the King from 'A Series of Views in Burmah taken during Major Phayreâ&#x20AC;&#x2122;s Mission to the Court of Ava in 1855' by Colesworthy Grant. Grant wrote that: '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... The sketch of the Royal animal himself here seen, was seized as he was re-entering the archway, after having been taken out for the purpose of being photographed by Captain Tripe; a concession which was made after some little difficulty and objections, and not until the whole of the golden umbrellas, eight in number, pertaining to his state, had been prepared and spread to protect him from possibility of danger by exposure to the sun!'

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64. The Elephant Pen, and Wild Elephant taming Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of the taming of a wild elephant in a large wooden arena at Amarapura from 'A Series of Views in Burmah taken during Major Phayreâ&#x20AC;&#x2122;s Mission to the Court of Ava in 1855' by Colesworthy Grant.

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Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of the â&#x20AC;&#x153;Lord White Elephantâ&#x20AC;?, a rare and auspicious white elephant kept by the King at Amarapura. Grant wrote that: 'This noble looking animal has lately died, and there is none, it is believed, to fill his place. He had occupied his late royal position for upwards of fifty years, and was said at the time of the Mission (September-October 1855) to be about 60 years old...and he was said, also, at the time, to be sickly, or out of condition. The eye, however, which was peculiar, was full of mischief: the king himself remarked that his temper had always been uncertain. He was ridden only by his mahout, who was invariably seated on his neck when visitors were expected. The colour of the animal was a cream or very light dun; his height was about ten feet, and his magnificent tusks nearly touched the ground...He was 'right royally caparisoned' in bands of crimson cloth or velvet and gold, studded with large bosses of gold...His ears were decorated with large silver tassels, and over his head he wore an ordinary cloth of gold, his costlier gear being reserved either for state occasions or for exhibition to visitors at such times. These collectively are delineated in a separate plate...Above his head was suspended a white canopy, the exclusive privilege and insignia of Royalty. Fastened to the pillars are seen his golden umbrellas, and near one of the windows, a white fringed umbrella, or canopy, and other ornamental items of furniture indicative of Royal rank and privilege. In the foreground are a variety of conic shaped vessels, glittering in gold and silver and mosaic; and near to them a gigantic jar of silver, containing water, all used either for drinking or bathing purposes.'

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66. 'The Lord White Elephant' Regalia Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of the the regalia worn by the â&#x20AC;&#x2DC;Lord White Elephantâ&#x20AC;&#x2122;, a rare and auspicious white elephant kept by the King at Amarapura. Grant wrote: 'Fig 1. - A plate of gold, probably eighteen inches in length, bordered with innumerable Rubies, and having, in the centre, the name or title of the Royal beast. Worn across the forehead. Fig 2. - The jewelled Frontlet, worn above the trunk, and below the eyes; a massive crescent of gold, with three rows of Rubies around the edge.In the centre...Diamond, Emerald, Ruby, Sapphire, and Pearl [are found]. Fig 3. - The head covering. A gigantic net of Pearls, embossed with plates, or rosettes, of gold set with Rubies. Two jewelled circles, of size and position corresponding to the two bumps on the Elephant's head, over which they fitted, occupied the centres of the two hemispheres of this net...Environing this entire net, that was in shape like a peepul leaf, was a band of Rubies, and this again was margined by vandyke or net pearl work, edged with a border of thin gold peepul leaves. Two immense jewels, one an emerald, surrounded by Diamonds, and small gold leaves, were pendant at the lower point of this head dress, and would fall between the eyes. Fig 4. - Was the 'Choonee', or Driving hook. The hook and handle were formed of crystal, tipped with gold; and the whole length of the staff, about three feet long, was cased in pearls, banded at intervals with gold and rubies. It was altogether an exceedingly beautiful and tasteful article. Fig 5. - A smaller choonee, or hook, formed of gold, set with small Rubies, with handle of cane. It is believed to have been the ordinary hook used by Royal hands on some occasions of the former King or Kings have ridden the 'Lord white Elephant'.' 139

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67. Sagain, and distant view of Ava, from the Sagain Hill Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a view of Sagaing in Burma with Ava in the distance. Grant wrote that: '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 opposite shore, near to the broad elbow of the over-flooded river, which at that point turns up towards the spectator and the present capital [Amarapura]. Directly opposite to Ava, lost to the eye amidst the woody expanse, is Sagain...The flight of steps, 275 in number, of which portions may be seen here and there on the right, with gigantic Lions at their base, is a portion of the wearisome ascent to the terrace of the Pagoda, perched on the pinnacle of the hill, probably 200 feet high, from the terrace of which these views were taken.'

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68. Distant view of Umerapoora, from the Sagain Hill Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a distant view of Amarapura seen from Sagaing. Sagaing lies on the west bank of the Irrawaddy River facing Amarapura.

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69. Burmese Travelling Cart Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a Burmese travelling cart. This sketch of a cart, shown from two angles, was described by Grant as follows: 'The contrast which the elegantly and laboriously carved bodies of these conveyances form with the massive rusticity of the wheels is strikingly odd, but quite in keeping with the principle which is exhibited in the construction of the lower portions of the beautiful Monasteries, where an elegant and possibly gilt superstructure is raised upon bare and plain posts, in anticipation, of course, of their being occasionally immersed in water. The cart here represented had cushions of red cloth; was sketched at Semphew kyoon, and had most probably been employed to bring one or more of the officials down to the anchoring place of the Flotilla.'

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70. Mengoon, from the Steamer Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a view of Mengoon seen from the steamer. Grant stated that: 'the next place of halting was Mengoon (or Myen-goon) – ‘The site of the rustic Palace’ - a village of 200 or 300 houses on the east bank, two miles above Menhla...The numerous and crowded war boats at this place, the high and broken bank...over-topped by the sombre and massive foliage of the low palm. The Mission remained here only a few hours...to arrange for their state barges being taken in tow by the Steamers, in place of being pulled by their war boats, which had hitherto been a source of delay to the progress of the Flotilla. The barge of the principal officer was made fast to the ‘Bentinck’, and that of the other, at his own particular request, to the ‘Nerbudda’, as he objected to be towed by the Flat. Relieved of their tug, the wondrous war boats, pulling in slack water, in shore, were now enabled to keep pace with the steamers, which hitherto had been compelled, every now and then, to slack their speed to half power.'

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71. Model of the Great Temple of Mengoon Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Drawing in pen-and-ink and watercolour made by Colesworthy Grant in 1855, depicting a small stupa at Mingun in Sagaing Division, Burma (Myanmar). Mingun, a short distance north of Amarapura on the opposite bank of the Irrawaddy, is best known for its immense and incomplete pagoda begun by Bodawpaya. He intended it to be the tallest Buddhist monument in the world, rising to a height of 150 m, but died in 1819 before it could be finished. It is purportedly the largest mass of brickwork in the world but was badly damaged in an earthquake in 1838. This sketch by Grant shows a view of a diminutive version of the massive pagoda, and was described by the artist as follows: â&#x20AC;&#x153;This model stands at a short distance from the monster pile itself. It is built of brick and mortar, and is about fourteen feet in height. Judging by the construction of the doorways, which differ materially in formation and proportion from those in the actual building, it is most probable that this miniature edifice has been intended merely for general reference, as to proportions, and not as a very strict guide or model for its details or embellishment.â&#x20AC;?

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72. Ruins of the Great Temple of Mengoon, Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Drawing in pen-and-ink and watercolour made by Colesworthy Grant in 1855, depicting the Mingun Pagoda at Mingun in Sagaing Division, Burma (Myanmar). Mingun is a short distance north of Amarapura on the opposite bank of the Irrawaddy, and is best known for its immense and incomplete pagoda begun by Bodawpaya. He intended it to be the tallest Buddhist monument in the world, rising to a height of 150 m, but died in 1819 before it could be finished. It is purportedly the largest mass of brickwork in the world but was badly damaged in an earthquake in 1838. This sketch by Grant shows the abandoned pagoda riven by cracks and splits caused by the earthquake and its base overgrown with vegetation. It was described by the artist as follows: â&#x20AC;&#x153;This stupendous ruin, which it has been shewn is visible at a distance of ten miles, stands on the western bank of the river, at the distance just named, northward of Umeerapoora. It was built by King Men-tara-gyee; and though it had not reached one-third its intended height, (which it is supposed would have been at least 500 feet) he is declared to have occupied about twenty years in its construction. There was a prophecy, however, that on its completion the Royal founder would die. His Majesty therefore was in no hurry for its fulfilment. The King died in 1819; and the enormous mass, when it had reached no higher than the square basement, was riven - torn, and shattered by a frightful earthquake in 1839, which shook nearly the whole kingdom. Captain Yule states that the height of the ruin is about 105 feet from the ground, and that 'the solid contents must be between six and seven millions of cubic feet of brickwork.' The terraces from which it rises are almost entirely hidden by the jungle which for thirty-six years has most probably been growing about it. The whole ponderous mass is solid, with the exception of the small chambers in which it is rumoured that enormous treasures are buried.

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73. The Great Bell at Mengoon Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of the Mingun Bell at Mingun from 'A Series of Views in Burmah taken during Major Phayreâ&#x20AC;&#x2122;s Mission to the Court of Ava in 1855' by Colesworthy Grant. Mingun, a short distance north of Amarapura on the opposite bank of the Irrawaddy, is best known for its immense and incomplete stupa begun by King Bodawpaya (r.1782-1819). Its famous bell was commissioned by Bodawpaya in 1808. After the earthquake that reduced the stupa to rubble in 1838, the bell was positioned close to the river. Grant wrote that: 'In full keeping with the Temple is the monster Bell which was intended for it. On first view of this surprising object it was anticipated that more than a rival had been found for the Great Bell of Moscow. It proved short, however, but ranks as the next largest Bell in the world. It measures sixteen feet and three inches across the mouth or rim, and its weight, according to pretty general agreement, is about ninety tons. The enormity of its actual appearance will be gathered by comparison with the human figures standing on the platform...'

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74. Ruins of the Colossal Lions at Mengoon Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of the ruins of the colossal lion sculptures next to Mingun Pagoda at Mingun. Mingun, a short distance north of Amarapura on the opposite bank of the Irrawaddy, is best known for its immense stupa that was begun by Bodawpaya at the close of the 18th century and left incomplete on his death in 1819. In 1838, the structure was damaged by an earthquake. Grant wrote that: 'Turning round from the enormous temple, and looking towards the river bank, two other gigantic, and at first unintelligible piles of brick and mortar work, surprise the eye. These are the remains of the Colossal Lions, intended to have formed the customary guardians of the Temple entrance, and of which the hind quarters are all that remain in position.'

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75. Three Burmese Infantry Soldiers Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of three Burmese infantry soldiers at Amarapura. Grant wrote that: 'The three men here represented...were picked out of the guard of six hundred attached to the Residency...Vigorous and powerfully formed men, and, as is well known, very far from wanting in courage...Their arms comprise a flint musket, without bayonet, and the 'Dhar' or sword worn on the back of the left shoulder. Their cartridges are carried in bandoliers, forming a belt round the waist. The ordinary Burmese Government custom of payment, not by salaries but by grants of land, appears to exist in the army, as in other branches of the state. Fields or districts are assigned to the soldiers, the value of which is assumed to be as good as Ten Roopees per month.'

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76. Moung-Gya-oo. Mugway Mengyee - Chief Woongee, or Prime Minister of State Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a portrait of Moung Gya-oo, the Burmese Chief Minister, at Amarapura in Burma (Myanmar) from 'A Series of Views in Burmah taken during Major Phayreâ&#x20AC;&#x2122;s Mission to the Court of Ava in 1855' by Colesworthy Grant in 1855. This album consists of 106 landscapes and portraits of Burmese and Europeans and documents the British embassy to the Burmese King, Mindon Min (r.1853-1878). Insrcibed below is sitter's signature in Burmese script.

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77. Moung Mho, the Myadoung Myotsa. Second Woongee Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855. Watercolour with pen and ink of a portrait of Moung Mho. Inscribed with the sitter's signature in Burmese script. Moung Mho was a Burmese Minister of State. Grant stated that Moung Mho was about 53 years of age at the time of this portrait.

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78. Moung ShwĂŠ-Gnyo. Myoke of Thayet-myo Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a portrait of Moung Shwe-Gnyo of Thayet-myo in Magway. Grant wrote that: 'Myoke, or under Magistrate, of Thyetmew, the British frontier station. He is said to have commanded a considerable body of the Burmese against us at the taking of Rangoon, and according to his own history of the event, to have been the last to quit the [Shwe Dagon] Pagoda. He is now in the service of the British and bears the character of being a very intelligent man.'

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79. Moung YuĂŠ. Myoke of Meerday Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a portrait of Moung Yue. Inscribed with the sitter's signature in Burmese script. Moung Yue was the Myoke or under Magistrate of Myayde (Allanmyo) in Magway. Grant wrote that: 'He joined the British at commencement of the war, and was presented by Lord Dalhousie with a gold chain'.

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80. The Tsare-daugee or Royal Scribe. In charge of British Residency Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a portrait of the Tsare-Dau-Gee or Royal Scribe at Amarapura. Inscribed with the sitter's name in Burmese script. Grant wrote that: 'This most amusingly imperturbable old official was invested with charge of the British Residency as a sort of Major Domo; an office he contrived to fill with that amount of success which won for him the very highest need of - self satisfaction.'

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81. Governor of PagĂ˘n Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a portrait of the Myit-sing-woon or Governor of Pagan (Bagan). Inscribed with the sitter's signature in Burmese script. Pagan (Bagan) was the royal capital of an extensive Burmese kingdom between the 11th and 13th centuries.

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82. Moung, Share Moung. An Albino, age 70 Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1885 Watercolour with pen and ink of a portrait of Moung Shwe Moung. Moung Shwe Moung visited the Residency of the mission in Amarapura. Grant wrote that he was: 'An 'Albino', aged 70. The father of this man...was a Mohummudan [Muslim], a native of India; his mother, a Burmese.'

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83. Moung Tooh. Tara-thoo-gyee, or Chief Civil Judge Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a portrait of Moung Tooh. Inscribed with the sitter's signature in Burmese script. Moung Tooh was the Burmese Chief Civil Judge. Grant wrote that: 'With all the free and easy manners, the good humour and social disposition of the Burman, the portly Tarathoo-gyee seemed really to become attached to the gentlemen of the Mission, and to lament their leaving.'

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84. Moung Pho; Taline Clerk to Commissioner Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a portrait of Moung-Pho. Inscribed with the sitter's signature in Burmese script. Moung-Pho was a Mon clerk. The Mon introduced Theravada Buddhism to Myanmar (Burma) in the 11th century. They are one of over 30 ethnic groups in the region.

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85. Mr. Mackertich J. Mines. Governor of Melloon Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a portrait of Mr. Mackertich J. Mines the former Governor of Melun. Inscribed with the signature of the sitter. Grant wrote that: 'Mr. Mackertich is an Armenian, but naturalized to Burmah. He was one of the Burmese Embassy to Calcutta in 1854, and on the English mission reaching Melloon, of which place he was then Governor, he formed a Member of the deputation appointed to escort the party from that place to the capital. Mr. Mackertich speaks English well; and is a shrewd and intelligent man. He is repeatedly referred to in the Report.'

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86. Moung-ghee - The son of Bundoola. Rangoon Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour in pen and ink of a portrait of Moung-ghee, the son of the renowned General Maha Bundoola, in Rangoon (Yangon). Inscribed with the sitter's signature in Burmese script. Grant wrote that: 'Under the prestige of his father's name, and not from any display of military talent or disposition in himself, Moung-ghee was appointed General of the Burmese army sent against the British at commencement of the last war; when expectations of the wonders which he was to have accomplished being disappointed, or dissatisfaction in some way occasioned, he was recalled to the capital; but fully knowing this was but the prelude to the loss of his head, Moung-ghee very wisely came over to the British, by whom he was, and continues to be, kindly treated. He has a pension from Government; but he is said to be gratified in a yet greater degree by a small grant of land made to him by the Governor General, Lord Dalhousie. Moung-ghee is far above the ordinary stature of the Burmese, being full six feet in height, and well made in proportion. He is exceedingly cheerful, happy and contented.'

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87. Moung Mhon. The Woondouk Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a portrait of Moung Mhon. Inscribed with the sitter's signature in Burmese script. Grant wrote that Moung Mhon was 'the second person in rank of the Ambassadors who visited Calcutta on a Mission to the Governor General in 1854; and was the Officer who met and accompanied the English Embassy to Umeerapoora, and therefore figures so frequently in the Secretary's Report.'

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88. Kiouk-kei. Karen. Kemendine Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a portrait of Kiouk-Kei, a Karen, at Kemmendine a suburb of Rangoon. Inscribed with sitter's signature in Burmese script. The Karen live throughout central and southern Burma, and in the 19th century formed the chief population of the south-west section of the Shan States and of Tenasserim. Grant wrote that this man was: a 'Friend, adviser, and co-patriot' of Kyan-Lau-Gee, whose portrait is also in this album.

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89. Kyan-lau-gee. Karen. Kemendine Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a portrait of Kyan-Lau-Gee, a Karen, at Kemmendine a suburb of Rangoon. Inscribed with sitter's signature in Burmese script. The Karen live throughout central and southern Burma, and in the 19th century formed the chief population of the south-west section of the Shan States and of Tenasserim. Grant wrote: 'This man, who appeared to be very kindly regarded and respected by the gentlemen attached to the Mission at Kemendine. During the last struggle with the Burmese he was the Commander-in-Chief of the Karen forces, and is stated to have been in five battles, and to have had two horses shot under him.'

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90. Moung Toh. Khien Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a portrait of Moung Toh, a Chin man. from 'A Series of Views in Burmah taken during Major Phayreâ&#x20AC;&#x2122;s Mission to the Court of Ava in 1855' by Colesworthy Grant. This album consists of 106 landscapes and portraits, and documents the British embassy to the Burmese King, Mindon Min (r.1853-1878). Grant drew several portraits on his journey. The Chin are a Tibeto-Burman people who live in the western part of Burma. They are one of over 30 tribal groups in the region. Grant wrote that the man portrayed in this drawing was 'believed to be the husband of one of the Khyen women already noticed.'

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91. Pho-men. An Albino, age 17 Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a portrait of Pho-Men. Grant wrote that Pho-men was: 'An 'Albino', aged 17, whose European-like skin, rendered pink where affected by the sun, very light brown or sandy coloured hair, light eyes...'

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92. Rough Sketch of KathĂŠ Boatmen, en route to Mengoon Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of three Manipuri (KathĂŠ) boatmen seen on the the way to Mingun. According to Grant these men were 'attached to one of the war boats placed at command of the Envoy on occasion of the visit of the mission to Mengoon'. In 1826, Manipur became a state within the British Raj. It is situated to the north-west of Burma.

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93. Profile of the Hirsute faced Woman of Ava Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a portrait of Maphoon. In 1826, John Crawfurd had also led British mission to Burma. At the court of Ava, he met ShweMaong and his young daughter Maphoon. Shwe-Maong was extremely hairy, most noticeably on his face. This condition is known today as congenital hypertrichosis langinosa. The first recorded case is that of Petrus Gonzales, who was born in the Canary Isles in 1556. In 1855, Maphoon was 31 years of age and had two male children. There are also several photographs of the family dating from the 1870s. Grant wrote that: 'The features of the mother [Maphoon], unmasked from the hair, would evidently have formed a very comely woman. The mouth was very pretty; the expression of the eyes, near which the hair was fined off, exceedingly pleasing and gentle; whilst the modesty of her manners, and her affectionate tenderness and anxiety for her child, were altogether so womanly and amiable, that a short time was sufficient very greatly to remove the unpleasant impression which her appearance at first created.'

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94. Maphoon, The Hirsute faced Woman of Ava, and her child Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a portrait of Maphoon. In 1826, John Crawfurd had also led British mission to Burma. At the court of Ava, he met ShweMaong and his young daughter Maphoon. Shwe-Maong was extremely hairy, most noticeably on his face. This condition is known today as congenital hypertrichosis langinosa. The first recorded case is that of Petrus Gonzales, who was born in the Canary Isles in 1556. In 1855, Maphoon was 31 years of age and had two male children. There are also several photographs of the family dating from the 1870s. Grant wrote that: 'the infant, otherwise a very pretty child, is already exhibiting the peculiarities of his mother. A fringe of hair is seen across the forehead, a small quantity under the eyes, and from the ears large bunches of soft hair, full 3 inches long, are pendant. The features of the mother, unmasked from the hair, would evidently have formed a very comely woman. The mouth was very pretty; the expression of the eyes, near which the hair was fined off, exceedingly pleasing and gentle; whilst the modesty of her manners, and her affectionate tenderness and anxiety for her child, were altogether so womanly and amiable, that a short time was sufficient very greatly to remove the unpleasant impression which her appearance at first created.'

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95. A KathĂŠ or Munnipoore Horseman Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a horseman. The horseman in this portrait came from Manipur in the north-west of the region and known by the Burmese as KathĂŠ. In 1826, Manipur became a state within the British Raj. Grant was unimpressed with the Burmese cavalry. He wrote that 'If the Infantry of the Burmese army disappointed expectation, the mounted portion yet more...for although there were many beautifully formed, powerful, and spirited [horses], very many more were of sorry appearance, as though of inferior blood, or badly fed. The men, believed to be principally or exclusively Munnipooreans, were strong enough looking, but miserably set off by their dress and equipments. Their clothes were of the same coarse quality as those of the foot soldiers, and their arms consisted of a short spear, and the customary sword slung at their backs.'

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96. Khien Woman Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a portrait of a Chin woman at Prome in Pegu (Bago). Grant drew several portraits on his journey. The Chin are a Tibeto-Burman people who live in the western part of Burma. They are one of over 30 tribal groups in the region.

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97. Mameet. Taline Lady. Daughter of the Native Magistrate of Prome Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a portrait of Mameet. Grant wrote that Mameet and her sister, who is also portrayed in the album, were: 'daughters of the Tseekay, or native Magistrate, of Prome and are believed to be very characteristic of the gentler looking and prettier race of the Talines, or Peguers...Mameet, the elder, about 17 years of age, was more particularly pleasing and winning. She wore a profuse necklace of pearls (real or artificial), about twenty rows of which extended from the neck to the waist, whilst small rows of pearls and rubies encircled the throat, and rings ornamented the fingers. Mameet was married to a Mogul; and with several other sisters...visited the steamers under no other guide or protectorship than that of their intelligent and loquacious mother, and a troop of female attendants.'

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98. Ameegalay. Taline Lady. Daughter of the Native Magistrate of Prome Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a portrait of Ameegalay. Grant wrote that Ameegalay and her elder sister, who is also portrayed in the album, were: 'daughters of the Tseekay, or native Magistrate, of Prome, and are believed to be very characteristic of the gentler looking and prettier race of the Talines, or Peguers. They were exceedingly fair, and rendered to appearance more so by a delicate dusting of sandal wood, with which they both powder the skin, and scent the person...Their manners were pleasing and naturalâ&#x20AC;Ścombining the utmost modesty and propriety, and the absence of affectation and shyness, with that open and fearless confidence. The women of Burmah, generally, appeared to be quick, intelligent, and communicative...and [Ameegalay] with several other sisters... visited the steamers under no other guide or protectorship than that of their intelligent and loquacious mother, and a troop of female attendants.'

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99. Shembaloon, native of Koonyoo. Khien Woman Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a portrait of Shembaloon, a Chin woman. The Chin are a Tibeto-Burman people who live in the western part of Burma. They are one of over 30 tribal groups in the region.

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100. Moung-LooglĂ¨. Nephew to the Woondouk Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a portrait of Moung-Loogle. Inscribed with the sitter's signature in Burmese script. Moung-Loogle was the eight year-old nephew of the Woon Douk, a Burmese government minister.

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101. Mr. Antonio Camaretta. Collector of Customs &c Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a portrait of Antonio Camaretta, a customs collector. Grant wrote that Mr Camaretta was 'by birth a Portuguese of Goa. He has been above 30 years in the Burmese service, and is the present 'Akouk-Woon', or Collector of Customs at Umeerapoora [Amarapura], besides holding some office in the Palace connected with the Royal Treasury. Mr. Camaretta is a great favourite with the King, whose full confidence he appears to enjoy; and was hardly less kindly regarded by the members of the Mission. Whilst maintaining his faith and attachment to the King of Ava as a servant, he took pleasure in declaring he was not less a subject of Queen Victoria. On the breaking out of the last rebellion, when he lost the whole of his property, he was, with Mr. Spears, a prisoner in irons for the space of nine months.'

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102. Major A.P. Phayre. Envoy, and Commissioner of the Pegue Provinces Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a portrait of Sir Arthur Purvis Phayre (1812-1885). Phayre was the Commissioner of Pegu (Bago) from 1852 to 1863 and the first Chief Commissioner of British Burma from 1863 to 1867. He was also a renowned scholar and linguist. Grant wrote that Phayre had a 'kindly disposition' and was 'universally beloved'.

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103. Father Abbona Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a a portrait of Father Paolo Abbona, a Roman Catholic priest. Grant described Father Abbona as the 'Piedmontese priest of the Roman Catholic chapel at Umeerapoora, where he has also established a school in which he proposes teaching English. He appears to be in the confidence of the King; and was frequently a medium of communication with His Majesty on matters connected with the mission. In illustration of the King's liberality of mind, Father Abbona stated that, though a teacher of another faith, he occasionally received royal pecuniary aid in his labours, and that he was convinced that if the King were once brought to believe in the truths of Christianity, he would not hesitate to become a Christian.'

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104. R.S. Edwards, Esq. attachĂŠ to Mission Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a portrait of R. S. Edwards at Amarapura. Grant records that: 'A mission to Ava would hardly be perfect without the customary aid of Mr. Edwards as an attachĂŠ. He has become historically connected with Burmah...where his services, fidelity and intelligence are as well appreciated by the Government, as his character, conduct and disposition are respected in the circle of private life. Mr. Edwards has served the Government for upwards of forty years.'

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105. General D'Orgoni Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour with pen and ink of a portrait of General Dâ&#x20AC;&#x2122;Orgoni. Inscribed with the sitter's signature on the right. According to Grant, the French Adventurer General Dâ&#x20AC;&#x2122;Orgoni resided in Amarapura at the time of the mission and 'recently accompanied a Mission of Burmese officials with presents &c., from the King to the court of France'.

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106. Thomas Spears Esq. Artist: Grant, Colesworthy (1813-1880), Medium: Watercolour with pen and ink, Date: 1855 Watercolour in pen and ink of Thomas Spears. Thomas Spears, a Scottish trader and authority on Burmese culture, had played an informal diplomatic role in the wake of the war and helped to negotiate the mission. Grant records that he was 'the only British merchant and resident at Umeerapoora; to whom the members of the mission were indebted for many valuable and friendly attentions. Mr. Spears has resided in Umeerapoora about eighteen years. He was a sufferer by the rebellion of 1852, and during nine months was kept a prisoner in irons. He is much respected by the King, and not less so by his countrymen, having at all times 'honorably maintained his character as an Englishman.'

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The other artist

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1. View of the Myit-nge or Little River and part of the valley of the Irrawaddy from the mountain called Mya-liet (Burma). 9 October 1855 Artist: Oldham, Thomas (1816-1878), Medium: Wash, Date: 1855 Wash drawing of a view of the Myit-nge or Little River and part of the valley of the Irrawaddy from the mountain called Mya-liet in Myanmar (Burma) by Thomas Oldham (1816-1878) and dated 9th October 1855. This image, part of Sir Henry Yule's collection, is the original drawing for Plate 24 of Yule's 'A Narrative of the mission sent by the Governor-General of India to the court of Ava in 1855' and published in London in 1858. Oldham and two companions, Yule and Dr. Forsyth, set out for the Mya-liet mountain range but only Oldham carried on to the summit of the ridge. He described the view as follows: "On reaching the top, nothing was to be seen to the west but the long gorge and gap in the hill-side, densely clothed with small timber. To the north the eye ranged over the great plain of the Irawadi, with a few isolated hills starting out in the midst like islands in a great sea: and in the foreground the great peak of Mya-liet, said to be called Pya-goon, rose with its steep side and broken outline in noble contrast to the flats beyond. Eastward the eye ranged over a succession of hills rising with long slopes, and smooth and very curiously unbroken outline, one above the other. The gorge of the Myit-nge was at our feet, with its ruddy stream flowing tranquilly between its dark and well-wooded banks."

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