XLII.

Ragonath Row, Ballajee, Pundit-Purdhan, Peshwa of the Mahratta Empire.

This portrait, from a drawing made during the campaign in Guzerat in 1775, was thought to be a striking likeness of Ragobah, or Ragonath Row, the Brahmin sovereign of the Mahrattas. On being shewn the original drawing, he said it was rather an unfavourable likeness, but if I would make a sketch of him after gaining a battle, it would be more pleasing, and exhibit his real character. That not according with the general opinion, the drawing remained in its original condition.

XLIII.

The Mahratta Peshwa and his Ministers at Poonah.

My drawing of this interesting party, was made from an original sketch taken in the Durbar at Poonah, in the possession of Sir Charles Malet, bart. during his residence at the Mahratta court; and is an exact representation of the highest order of secular brahmins.

XLIV.

Cambay, from the South.

The drawing was made when the English detachment from Bombay accompanied Ragonath Row from Surat, and a tent was pitched for the reception of the Mahratta sovereign, between the city-walls and the sea, previous to his interview with the Nabob of Cambay. In the centre is the Jumma Musjid and fallen Minar, mentioned in the memoirs.

XLV.

Mohman Khaun, Nabob of Cambay.

The drawing from which this is engraved was made at a public interview between the Nabob and the Mahratta sovereign, near the walls of Cambay; it was thought to be a strong likeness, and an exact representation of the Mogul costume. On that particular occasion the Nabob wore no jewels, nor any kind of ornament, except a fresh-gathered rose on one side of his turban.

XLVI.

Sculpture in a subterraneous Hindoo Temple at Cambay.

This Temple, called by the English Shawuck pagoda, contains some of the most beautiful marble sculpture in Hindostan, of a variety of deities in the Hindoo Pantheon. This compartment, forming the centre in a row of these images, was selected, from being more highly finished and ornamented than the rest; it represents the Deity called Parisnaut.

XLVII.

A Foot Soldier in the usual Costume of the Native Indians.

From a drawing made in the Mahratta çamp, of a spear-man in Ragobah's service. Those who carry match-locks, or other Indian armour, are generally dressed in a similar manner, sometimes in a jacket and shorter drawers, according to their own choice; no conformity being attempted, as in the corps of native sepoys in the Company's service.

XLVIII.

A Mahratta Horseman.

Engraved from a drawing sketched in the Mahratta camp; where, as remarked of the native foot-soldiers, few of them are dressed or armed

exactly in the same manner; nor is there much distinction in appearance between the officers and the troop they command.

XLIX.

The Table-Land and Cape Town at the Cape of Good Hope.

The Table-land at a distance appears like one long mountain, with a flat surface, a nearer approach discovers its projecting cliffs, craggy sides, and broken precipices. The fortifications and principal buildings in the town being drawn in proportion to the Table mountain, are necessarily on a diminutive scale.

L.

Baroche, on the Banks of the Nerbudda in Guzerat.

This city being fully described in the work, it is unnecessary to add more than that the view was taken from the Melon island in the centre of the river Nerbudda, opposite the south face of the fortifications.

LI.

An English Villa on the Banks of the Nerbudda in Guzerat.

This Villa, situated in the village of Vezelpoor, near Baroche, is particularly described in the Memoirs, with its gardens and accompaniments. The view presents a little scene endeared to the author by many tender recollections; and is introduced into these volumes with a view of giving the European reader some idea of what is called a Garden House, in those distant regions.

LII.

Scene in the Garden at Vezelpoor near Baroche.

This varied and beautiful'spot, drawn from nature, gave rise to the verses addressed to the Hindoo Naiad Medhumad'ha, in the preceding chapter, and forms a pleasing association of Oriental scenery, comprised within a very small compass.

Mellifluous murmurings told the fountains nigh,

Fountains which all the garden's wants supply.

LIII.

The Mausoleum of Bawa Rahan, near Baroche.

A morning scene soon after sun rise; engraved from an oil painting, which I did from my original drawing, to produce a more brilliant effect in colouring. The fore-ground represents the Mahomedan women, on the anniversary of the death of a husband, child, or relative, strewing the grave with mogrees and other fragrant flowers; at the approach of night they place a few lamps round the tomb, and pass the hours in the melancholy pleasure of tender recollection. The pensile nests of the Baya, or bottle-nested sparrow, are suspended to the branches of the Cocoa-nut tree.

LIV.

The Curmoor, or Florican of Guzerat.

The plate represents this beautiful bird of about half its natural size; the plumage is extremely correct: it is of the Bustard genus, and esteemed by epicures to be far superior in flavour to the black-partridge, or any other bird introduced at the English tables in India.

LV.

The Sahras, or Demoiselle of Guzerat. Ardea Virgo.

This bird, drawn from nature, is particularly described, and a singular anecdote related of it, in these Memoirs. The Sahras and Cullum, a similar bird, are very common in many parts of Guzerat, and in their most erect posture generally exceed five feet in height.

LVI.

The Green Pigeon and Cur-Champa.

The bird in the plate is represented about half the natural size; it is of beautiful plumage, and highly flavoured. These pigeons are met with in most parts of Hindostan, and particularly abound in the Banian trees, whose fruit forms their principal food. The Cur-Champa grows to a large tree, with a rich foliage, and at most seasons is covered with white flowers, which emit a delicate fragrance to a considerable distance.

LVII.

Blue Locust, Thorny-nested Caterpillar, and variegated Mimosa, in

Guzerat.

These three curious and beautiful specimens in the Natural History of Guzerat are particularly described in different excursions in that province. They are delineated of the exact size and colours of Nature, except in the lively azure of the locust, which it would be difficult for art to imitate.

The caterpillar, and the elegant Baubul-tree, or Mimosa, from whence it instinctively saws off the thorny materials for its temporary asylum, are fully mentioned in p. 272, Vol. II.