Lupinleaved Wood Sorrel. _Oxalis lupinifolia._
Dedicated to _St. Virgil_.
[394] Belsham’s Hist. of G. Britain.
~November 28.~
_St. Stephen the Younger_, A. D. 764. _St. James of La Marea_, of
Ancona, A. D. 476.
[Michaelmas Term ends.]
BURMESE STATE CARRIAGE.
_Exhibited in November_, 1825.
An invitation to a private view of the “Rath,” or state carriage of the
king of Ava, or emperor of the Burmans, at the Egyptian-hall,
Piccadilly, gave the editor of the _Every-Day Book_ an opportunity of
inspecting it, on Friday, the 18th of November, previous to its public
exhibition; and having been accompanied by an artist, for whom he
obtained permission to make a drawing of the splendid vehicle, he is
enabled to present the accompanying engraving.
The _Times_, in speaking of it, remarks, that “The Burmese artists have
produced a very formidable rival to that gorgeous piece of lumber, the
lord mayor’s coach. It is not indeed quite so heavy, nor quite so glassy
as that moving monument of metropolitan magnificence; but it is not
inferior to it in glitter and in gilding, and is far superior in the
splendour of the gems and rubies which adorn it. It differs from the
metropolitan carriage in having no seats in the interior, and no place
for either sword-bearer, chaplain, or any other inferior officer. The
reason of this is, that whenever the ‘golden monarch’ vouchsafes to show
himself to his subjects, who with true legitimate loyalty worship him as
an emanation from the deity, he orders his throne to be removed into it,
and sits thereon, the sole object of their awe and admiration.”
The _British Press_ well observes, that “Independent of the splendour of
this magnificent vehicle, its appearance in this country at the present
moment is attended with much additional and extrinsic interest. It is
the first specimen of the progress of the arts in a country of the very
existence of which we appeared to be oblivious, till recent and
extraordinary events recalled it to our notice. The map of Asia alone
reminded us that an immense portion of the vast tract of country lying
between China and our Indian possessions, and constituting the eastern
peninsula of India, was designated by the name of the Burmah empire. But
so little did we know of the people, or the country they inhabited, that
geographers were not agreed upon the orthography of the name. The attack
upon Chittagong at length aroused our attention to the concerns of this
warlike people, when one of the first intimations we received of their
existence was the threat, after they had expelled us from India, to
invade England. Our soldiers found themselves engaged in a contest
different from any they had before experienced in that part of the
world, and with a people who, to the impetuous bravery of savages, added
all the artifices of civilized warfare. We had to do with an enemy of
whose history and resources we knew absolutely nothing. On those heads
our information is still but scanty. It is the information which ‘the
Rath,’ or imperial carriage, affords respecting the state of the
mechanical arts among the Burmese, that we consider particularly curious
and interesting.”
[Illustration: ~The Rath, or Burmese Imperial State Carriage;~
_Captured, in September, 1825, at Tavoy, a sea-port in the Burmese
Empire_]
Before more minute description it may be remarked, that the eye is
chiefly struck by the fretted golden roof, rising step by step from the
square oblong body of the carriage, like an ascending pile of rich
shrine-work. “It consists of seven stages, diminishing in the most
skilful and beautiful proportions towards the top. The carving is highly
beautiful, and the whole structure is set thick with stones and gems of
considerable value. These add little to the effect when seen from below,
but ascending the gallery of the hall, the spectator observes them,
relieved by the yellow ground of the gilding, and sparkling beneath him
like dew-drops in a field of cowslips. Their presence in so elevated a
situation well serve to explain the accuracy of finish preserved
throughout, even in the nicest and most minute portions of the work.
Gilt metal bells, with large heart-shaped chrystal drops attached to
them, surround the lower stages of the pagoda, and, when the carriage is
put in motion, emit a soft and pleasing sound.”[395] The apex of the
roof is a pinnacle, called the _tee_, elevated on a pedestal. The _tee_
is an emblem of royalty. It is formed of movable belts, or coronals, of
gold, wherein are set large amethysts of a greenish or purple colour:
its summit is a small banner, or vane, of crystal.
The length of the carriage itself is thirteen feet seven inches; or, if
taken from the extremity of the pole, twenty-eight feet five inches. Its
width is six feet nine inches, and its height, to the summit of the
_tee_, is nineteen feet two inches. The carriage body is five feet seven
inches in length, by four feet six inches in width, and its height,
taken from the interior, is five feet eight inches. The four wheels are
of uniform height, are remarkable for their lightness and elegance, and
the peculiar mode by which the spokes are secured, and measure only four
feet two inches: the spokes richly silvered, are of a very hard wood,
called in the east, _iron wood_: the felloes are cased in brass, and the
caps to the naves elegantly designed of bell metal. The pole, also of
iron wood, is heavy and massive; it was destined to be attached to
elephants by which the vehicle was intended to be drawn upon all grand
or state occasions. The extremity of the pole is surmounted by the head
and fore part of a dragon, a figure of idolatrous worship in the east;
this ornament is boldly executed, and richly gilt and ornamented; the
scales being composed of a curiously coloured _talc_. The other parts of
the carriage are the wood of the oriental _sassafras_ tree, which
combines strength with lightness, and emits a grateful odour; and being
hard and elastic, is easily worked, and peculiarly fitted for carving.
The body of the carriage is composed of twelve panels, three on each
face or front, and these are subdivided into small squares of the clear
and nearly transparent horn of the rhinoceros and buffalo, and other
animals of eastern idolatry. These squares are set in broad gilt frames,
studded at every angle with raised silvered glass mirrors: the higher
part of these panels has a range of rich small looking-glasses, intended
to reflect the gilding of the upper, or pagoda stages.
The whole body is set in, or supported by four wreathed dragon-like
figures, fantastically entwined to answer the purposes of pillars to the
pagoda roof, and carved and ornamented in a style of vigour and
correctness that would do credit to a European designer: the scaly or
body part are of _talc_, and the eyes of pale ruby stones.
The interior roof is latticed with small looking-glasses studded with
mirrors as on the outside panels: the bottom or flooring of the body is
of matted cane, covered with crimson cloth, edged with gold lace, and
the under or frame part of the carriage is of matted cane in panels.
The upper part of each face of the body is composed of sash glasses, set
in broad gilt frames, to draw up and let down after the European
fashion, but without case or lining to protect the glass from fracture
when down; the catches to secure them when up are simple and curious,
and the strings of these glasses are wove crimson cotton. On the frames
of the glasses is much writing in the Burmese character, but the
language being utterly unknown in this country, cannot be deciphered; it
is supposed to be adulatory sentences to the “golden monarch” seated
within.
The body is staid by braces of leather; the springs, which are of iron,
richly gilt, differ not from the present fashionable C spring, and allow
the carriage an easy and agreeable motion. The steps merely hook on to
the outside: it is presumed they were destined to be carried by an
attendant; they are light and elegantly formed of gilt metal, with cane
threads.
A few years previous to the rupture which placed this carriage in the
possession of the British, the governor-general of India, having heard
that his Burmese majesty was rather _curious in his carriages_, one was
sent to him some few years since, by our governor-general, but it failed
in exciting his admiration--he said it was not so handsome as his own.
Its having lamps rather pleased him, but he ridiculed other parts of it,
particularly, that a portion so exposed to being soiled as the steps,
should be folded _and put up within side_.
The Burmese are yet ignorant of that useful formation of the fore part
of the carriage, which enables those of European manufacture to be
turned and directed with such facility: the fore part of that now under
description, does not admit of a lateral movement of more than four
inches, it therefore requires a very extended space in order to bring it
completely round.
On a gilt bar before the front of the body, with their heads towards the
carriage, stand two Japanese peacocks, a bird which is held sacred by
this superstitious people; their figure and plumage are so perfectly
represented, as to convey the natural appearance of life; two others to
correspond are perched on a bar behind. On the fore part of the frame of
the carriage, mounted on a silvered pedestal, in a kneeling position, is
the _tee_-bearer, a small carved image with a lofty golden wand in his
hands, surmounted with a small tee, the emblem of sovereignty: he is
richly dressed in green velvet, the front laced with jargoon diamonds,
with a triple belt round the body, of blue sapphires, emeralds, and
jargoon diamonds; his leggings are also embroidered with sapphires. In
the front of his cap is a rich cluster of white sapphires encircled with
a double star of rubies and emeralds: the cap is likewise thickly
studded with the carbuncle, a stone little known to us, but in high
estimation with the ancients. Behind the carriage are two figures; their
lower limbs are tattooed, as is the custom with the Burmese: from their
position, being on one knee, their hands raised and open, and their eyes
directed as in the act of firing, they are supposed to have borne a
representation of the carbine, or some such fire-arm weapon of defence,
indicative of protection.
The pagoda roof constitutes the most beautiful, and is, in short, the
only _imposing_ ornament of the carriage. The gilding is resplendent,
and the design and carving of the rich borders which adorn each stage
are no less admirable. These borders are studded with amethysts,
emeralds, jargoon diamonds, garnets, hyacinths, rubies, tourmalines, and
other precious gems, drops of amber and crystal being also interspersed.
From every angle ascends a light spiral gilt ornament, enriched with
crystals and emeralds.
This pagoda roofing, as well as that of the great imperial palace, and
of the state war-boat or barge, bears an exact similitude to the chief
sacred temple at Shoemadro. The Burman sovereign, the king of Ava, with
every eastern Bhuddish monarch, considers himself sacred, and claims to
be worshipped in common with deity itself; so that when enthroned in his
palace, or journeying on warlike or pleasurable excursions in his
carriage, he becomes an object of idolatry.
The seat or throne for the inside is movable, for the purpose of being
taken out and used in council or audience on a journey. It is a low seat
of cane-work, richly gilt, folding in the centre, and covered by a
velvet cushion. The front is studded with almost every variety of
precious stone, disposed and contrasted with the greatest taste and
skill. The centre belt is particularly rich in gems, and the rose-like
clusters or circles are uniformly composed of what is termed the stones
of the orient: viz. pearl, coral, sapphire, cornelian, cat’s-eye,
emerald, and ruby. A range of buffalo-horn panels ornament the front and
sides of the throne, at each end of which is a recess, for the body of a
lion like jos-god figure, called Sing, a mythological lion, very richly
carved and gilt; the feet and teeth are of pearl; the bodies are covered
with sapphires, hyacinths, emeralds, tourmalines, carbuncles, jargoon
diamonds, and rubies; the eyes are of a tri-coloured sapphire. Six small
carved and gilt figures in a praying or supplicatory attitude, are
fixed on each side of the seat of the throne, they may be supposed to be
interceding for the mercy or safety of the monarch: their eyes are
rubies, their drop ear-rings cornelian, and their hair the light feather
of the peacock.
The _chattah_, or umbrella, which overshadows the throne, is an emblem
or representation of regal authority and power.
It is not to be doubted, that the caparisons of the elephants would
equal in splendour the richness of the carriage, but one only of the
elephants belonging to the carriage was captured; the caparisons for
both are presumed to have escaped with the other animal. It is imagined
that the necks of these ponderous beings bore their drivers, with small
hooked spears to guide them, and that the _cortêge_ combined all the
great officers of state, priests, and attendants, male and female,
besides the imperial body-guard mounted on eighty white elephants.
Among his innumerable titles, the emperor of the Burmans styles himself
“king of the white elephant.” Xacca, the founder of Indian idolatry, is
affirmed by the Brahmins to have gone through a metampsychosis eighty
thousand times, his soul having passed into that number of brutes; that
the last was in a white elephant, and that after these changes he was
received into the company of the gods, and is now a pagod.
* * * * *
This carriage was taken with the workmen who built it, and all their
accounts. From these it appeared, that it had been three years in
building, that the gems were supplied from the king’s treasury, or by
contribution from the various states, and that the workmen were
remunerated by the government. Independent of these items, the expenses
were stated in the accounts to have been twenty-five thousand rupees,
(three thousand one hundred and twenty-five pounds.) The stones are not
less in number than twenty thousand, which its reputed value at Tavoy
was a lac of rupees, twelve thousand five hundred pounds.
* * * * *
[Illustration: AN ENLARGED VIEW OF
~The Tee,~
_The ornament surmounting the roof of the Burmese State Carriage._]
It was in August, 1824, that the expedition was placed under the command
of lieutenant-colonel Miles, C. B., a distinguished officer in his
majesty’s service. It comprised his majesty’s 89th regiment, 7th Madras
infantry, some artillery, and other native troops, amounting in the
whole to about one thousand men. The naval force, under the command of
captain Hardy, consisted of the Teignmouth, Mercury, Thetis, Panang
cruiser Jesse, with three gun boats, three Malay prows, and two row
boats. The expedition sailed from Rangoon on the 26th of August, and
proceeded up the Tavoy river, which is full of shoals and natural
difficulties. On the 9th of September, Tavoy, a place of considerable
strength, with ten thousand fighting men, and many mounted guns,
surrendered to the expedition. The viceroy of the province, his son, and
other persons of consequence, were among the prisoners, and colonel
Miles states in his despatch, that, with the spoil, he took “a new state
carriage for the king of Ava, with one elephant only.” This is the
carriage now described. After subsequent successes the expedition
returned to Rangoon, whither the carriage was also conveyed; from
thence, it was forwarded to Calcutta, and there sold for the benefit of
the captors. The purchaser, judging that it would prove an attractive
object of curiosity in Europe, forwarded it to London, by the Cornwall,
captain Brooks, and it was immediately conveyed to the Egyptian-hall for
exhibition. It is not too much to say that it _is_ a curiosity. A people
emerging from the bosom of a remote region, wherein they had been
concealed until captain Symes’s embassy, and struggling in full
confidence against British tactics, must, in every point of view, be
interesting subjects of inquiry. The Burmese state carriage, setting
aside its attractions as a novelty, is a remarkable object for a
contemplative eye.
* * * * *
Unlike Asiatics in general, the Burmese are a powerful, athletic, and
intelligent men. They inhabit a fine country, rich in rivers and
harbours. It unites the British possessions in India with the immense
Chinese empire. By incessant encroachments on surrounding petty states,
they have swallowed them up in one vast empire. Their jealousy, at the
preponderance of our eastern power, has been manifested on many
occasions. They aided the Mahratta confederacy; and if the promptness of
the marquis of Hastings had not deprived them of their allies before
they were prepared for action, a diversion would doubtless have then
been made by them on our eastern frontier.
Burmah is the designation of an active and vigorous race, originally
inhabiting the line of mountains, separating the great peninsula,
stretching from the confines of Tartary to the Indian Ocean, and
considered, by many, the _Golden Chersonesus_ of the ancients. From
their heights and native fastnesses, this people have successively fixed
their yoke upon the entire peninsula of Aracan, and after seizing
successively the separate states and kingdoms of Ava, Pegue, &c., have
condensed their conquests into one powerful state, called the Burmah
empire, from their own original name. This great Hindoo-Chinese country,
has gone on extending itself on every possible occasion. They subdued
Assam, a fertile province of such extent, as to include an area of sixty
thousand square miles, inhabited by a warlike people who had stood many
powerful contests with neighbouring states. On one occasion, Mohammed
Shar, emperor of Hindostan, attempted to conquer Assam with one hundred
thousand cavalry; the Assamese annihilated them. The subjugation of such
a nation, and constant aggressions, have perfected the Burmese in every
species of attack and defence: their stockade system, in a mountainous
country, closely intersected with nullahs, or thick reedy jungles,
sometimes thirty feet in height, has attained the highest perfection.
Besides Aracan, they have conquered part of Siam, so that on all sides
the Burmese territory appears to rest upon natural barriers, which might
seem to prescribe limits to its progress, and ensure repose and security
to its grandeur. Towards the east, immense deserts divide its boundaries
from China; on the south, it has extended itself to the ocean; on the
north, it rests upon the high mountains of Tartary, dividing it from
Tibet; on the west, a great and almost impassable tract of jungle wood,
marshes, and alluvial swamps of the great river Houghly, or the Ganges,
has, till now, interposed boundaries between itself and the British
possessions. Beyond this latter boundary and skirting of Assam is the
district of Chittagong, the point whence originated the contest between
the Burmese and the British.
The Burmese population is estimated at from seventeen to nineteen
millions of people, lively, industrious, energetic, further advanced in
civilization than most of the eastern nations, frank and candid, and
destitute of that pusillanimity which characterises the Hindoos, and of
that revengeful malignity which is a leading trait in the Malay
character. Some are even powerful logicians, and take delight in
investigating new subjects, be they ever so abstruse. Their learning is
confined to the male sex, and the boys are taught by the priests.
Females are denied education, except in the higher classes. Their books
are numerous, and written in a flowing and elegant style, and much
ingenuity is manifested in the construction of their stories.
The monarch is arbitrary. He is the sole lord and proprietor of life and
property in his dominions; his word is absolute law. Every male above a
certain age is a soldier, the property of the sovereign, and liable to
be called into service at any moment.
The country presents a rich and beautiful appearance, and, if
cultivated, would be one of the finest in the world. Captain Cox says,
“wherever I have landed, I have met with security and abundance, the
houses and farmyards put me in mind of the habitations of our little
farmers in England.”
* * * * *
There is a variety of other information concerning this extraordinary
race, in the interesting memoir which may be obtained at the rooms in
Piccadilly. These were formerly occupied by “Bullock’s Museum.” Mr.
Bullock, however, retired to Mexico, to form a museum in that country
for the instruction of its native population; and Mr. George Lackington
purchased the premises in order to let such portions as individuals may
require, from time to time, for purposes of exhibition, or as rooms for
the display and sale of works in the fine arts, and other articles of
refinement. Mr. Day’s “Exhibition of the Moses of the Vatican,” and
other casts from Michael Angelo, with numerous subjects in sculpture and
painting, of eminent talent, remains under the same roof with the
Burmese carriage, to charm every eye that can be delighted by
magnificent objects.
~Advent.~
This term denotes the _coming_ of the Saviour. In ecclesiastical
language it is the denomination of the four weeks preceding the
celebration of his birthday. In the Romish church this season of
preparation for Christmas is a time of penance and devotion. It consists
of four weeks, or at least four Sundays, which commence from the Sunday
_nearest_ to St. Andrew’s day, whether before or after it: anciently it
was kept as a rigorous fast.[396]
In the church of England it commences at the same period. In 1825, St.
Andrew’s day being a fixed festival on the 30th of November, and
happening on a Wednesday, the _nearest_ Sunday to it, being the 27th of
November, was the first Sunday in Advent; in 1826, St. Andrew’s day
happening on a Thursday, the _nearest_ Sunday to it is on the 3d of
December, and, therefore, the first Sunday in Advent.
~New Annual Literature.~