[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.”
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.