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tered abroad, to the great damage and impoverishment of many others, especially the poorer sort, and great numbers of Timber and other Trees have by the said Storm been torn up by the roots in many parts of this our Kingdom: a Calamity of this sort so dreadful and astonishing, that the like hath not been seen or felt in the memory of any person living in this our Kingdom, and which loudly calls for the deepest and most solemn humiliation of us and our people: therefore out of a deep and pious sense of what we and all our people have suffered by the said dreadful Wind and Storms, (which we most humbly acknowledge to be a token of the divine displeasure, and that it was the infinite Mercy of God that we and our people were not thereby wholly destroyed,) We have Resolved, and do hereby command, that a General Public Fast be observed," &c.

This public fast was accordingly observed, throughout England, on the nineteenth of January following, with great seriousness and devotion by all orders and denominations. The protestant dissenters, notwithstanding their objections to the interference of the civil magistrate in matters of religion, deeming this to be an occasion wherein they might unite with their countrymen in openly bewailing the general calamity, rendered the supplication universal, by opening their places of worship, and every church and meeting-house was crowded.

ADVERTISEMENT.

"It may not be generally known, that a Mr. JOSEPH TAYLOR, having experienced a merciful preservation, during the 'Great Storm,' in 1703; and, being at that period, a member of the (Baptist) church, meeting in Little Wild-street, Lincoln's Inn Fields, instituted an annual sermon, to perpetuate the recollection of that affecting occurrence; leaving, in trust, a small sum to be thus annually expended."

The above announcement is prefixed to a sermon preached in the before-mentioned chapel, in the year 1821, by the rev. George Pritchard. The annual sermon at that place has been regularly preached, but Mr. Pritchard's is the last printed one. It has an appendix of "remarkable facts, which could not so conveniently be introduced into the discourse. The rev. Robert Winter, A. M.

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places were, no doubt, given by our Saxon ancestors, we in the north retain more of that language, and consequently more familiar with the names of places than you in England.

Perhaps there is not one hundred persons in Langbourn ward know any meaning to the two words by which the ward is called; but to any child in Scotland the words are significant.

Will you then allow me to give you my etymology of the seasons?

Spring makes itself familiar to almost every one; but summer, or as we would say in Scotland, means an addition, or "sum-more," or 66 some-mere;" viz. if a person was not satisfied with his portion of victuals, he would say "I want summere."

And does not this correspond with the season, which in all the plants and fruits of the field and garden, is getting "sum-mere" every day, until the months of August and September, when according to the order and appointment of the great Lawgiver, they are brought to perfection, and gathered in?

Then comes the present season, autumn, or as we would in the north say, "ae-tum," or "all-empty," which is the present state of the gardens, trees, and fields; they are 66 ae-tum."

The last season brings with it its own name by its effects, "wind-tere."

If these observations will add any thing to your fund of information, it will not diminish that of

Your humble servant,

A NORTH BRITAIN.

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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

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The Rath, or Burmese Imperial State Carriage;

Captured, in September, 1825, at Tavoy, a sea-port in the Burmese Empire.

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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."

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 dewdrops 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." 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, o. 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

*The British Press.

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 tale. 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 teebearer, 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, argoon diamonds, and rubies; the eyes are of a tri-coloured sapphire. Six small

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