ected to
propitiate the evil spirits; _bylus_ and _nats_ being to the Burmese
very much what demons and devils are to us. The view of the pagoda
from the avenue is indeed wonderful. The great gilt dome, with its
brilliant golden _htee_, grows and grows and increases upon the
vision, until its enormous bulk is at last fully realised. Fancy a
vast bell-shaped erection, with a pointed handle of solid gold, rising
to nearly the height of the cross on the top of St. Paul's, surrounded
by numerous smaller pagodas and dagolas, bell-temples, tombs, and
rest-houses, some much dilapidated--it being considered more
meritorious to build a new temple than to repair an old one. Shway
Dagohu itself stands on a planted terrace, raised upon a rocky
platform, and approached by a hundred steps. A writer of about forty
years ago says:

'The golden temple of the idol may challenge competition, in point of
beauty, with any other of its class in India. It is composed of
teak-wood on a solid brick foundation, and indefatigable pains are
displayed in the profusion of rich carved work which adorns it. The
whole is one mass of the richest gilding, with the exception of the
three roofs, which have a silvery appearance. A plank of a deep red
colour separates the gold and silver, with the happy effect of
relieving them.

'All round the principal pagoda are smaller temples, richly gilt and
furnished with images of Gautama, whose unmeaning smile meets you in
every direction, the sight of which, accompanied by the constant
tinkling of the innumerable bells hung on the top of each pagoda,
combines with the stillness and deserted appearance of the place to
produce an impression on the mind not speedily to be effaced.' Close
by live a hundred and fifty families, called 'slaves of the pagoda,'
to whose care the edifice is entrusted.

[Illustration: Rangoon Boat, Stern]

[Illustration: Rangoon Boat, Stem]

On the walls of one of the rest-houses were some well-drawn frescoes
illustrating incidents in the life of Gautama, and statues of all
dimensions, from the size of one's hand to something quite colossal.
These figures are always represented in one of three positions--either
standing, sitting, or lying--the features of each wearing exactly the
same amiable but vacant expression, and the hands and feet being
invariably turned in the same direction. The carvings over the porch
of the principal temple outside the strongly fortified pagoda
represent it