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.