One Hundred Aspects of the Moon: Mount Otowa Moon - Bright God Tamura

November 20, 2015, 6:43 am

≫ Next: One Hundred Aspects of the Moon: Moon of the Pleasure Quarters

≪ Previous: One Hundred Aspects of the Moon: Usually I Dislike a Cloud Sky/ Tonight I Realize That a Cloud Sky/ Makes Me Appreciate the Light of the Moon - Gen'i

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This print is from Tsuki hyakushi (One hundred aspects of the moon), a collection of 100 large, moon-themed nishiki-e (multicolored woodblock prints) by Tsukioka Yoshitoshi (1839−92). The prints were published in batches by Akiyama Buemon between 1885 and 1892. They depict various aspects of the moon, drawing upon Japanese and Chinese anecdotes, historical events, and mythology, and relate to a wide range of subjects, including famous warriors, notable women, birds and animals, and goblins and ghosts. The print is contained in a folding book consisting of all 100 prints from Tsuki hyakushi and two indexes that were created after the series was completed. It is believed to have been bound by its former owner. A preface that was written at the same time as the indexes were compiled is not included in the book. Scholars believe that the order of the pictures in the album does not follow the order in which they were published, but instead their order in the indexes, although there are some variations. Tsukioka Yoshitoshi was an ukiyo-e artist from the school of Utagawa Kuniyoshi (1797–1861), active from the Bakumatsu (final years of the Shogunate) into the Meiji Period. He created a wide range of works, including bijin-ga (pictures of beautiful women), fuzoku-ga (pictures of manners and customs), and pictures of historical and literary characters. Completed in the year that he died, this series is highly regarded as the masterpiece of his later years.

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One Hundred Aspects of the Moon: Moon of the Pleasure Quarters

November 20, 2015, 6:43 am

≫ Next: One Hundred Aspects of the Moon: Cassia-Tree Moon - Wu Gang

≪ Previous: One Hundred Aspects of the Moon: Mount Otowa Moon - Bright God Tamura

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This print is from Tsuki hyakushi (One hundred aspects of the moon), a collection of 100 large, moon-themed nishiki-e (multicolored woodblock prints) by Tsukioka Yoshitoshi (1839−92). The prints were published in batches by Akiyama Buemon between 1885 and 1892. They depict various aspects of the moon, drawing upon Japanese and Chinese anecdotes, historical events, and mythology, and relate to a wide range of subjects, including famous warriors, notable women, birds and animals, and goblins and ghosts. The print is contained in a folding book consisting of all 100 prints from Tsuki hyakushi and two indexes that were created after the series was completed. It is believed to have been bound by its former owner. A preface that was written at the same time as the indexes were compiled is not included in the book. Scholars believe that the order of the pictures in the album does not follow the order in which they were published, but instead their order in the indexes, although there are some variations. Tsukioka Yoshitoshi was an ukiyo-e artist from the school of Utagawa Kuniyoshi (1797–1861), active from the Bakumatsu (final years of the Shogunate) into the Meiji Period. He created a wide range of works, including bijin-ga (pictures of beautiful women), fuzoku-ga (pictures of manners and customs), and pictures of historical and literary characters. Completed in the year that he died, this series is highly regarded as the masterpiece of his later years.

One Hundred Aspects of the Moon: Cassia-Tree Moon - Wu Gang

November 20, 2015, 6:43 am

≫ Next: One Hundred Aspects of the Moon: Pleasure is This/ To Lie Cool under the Moonflower Bower/ The Man in His Undershirt, the Woman in Her Slip

≪ Previous: One Hundred Aspects of the Moon: Moon of the Pleasure Quarters

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This print is from Tsuki hyakushi (One hundred aspects of the moon), a collection of 100 large, moon-themed nishiki-e (multicolored woodblock prints) by Tsukioka Yoshitoshi (1839−92). The prints were published in batches by Akiyama Buemon between 1885 and 1892. They depict various aspects of the moon, drawing upon Japanese and Chinese anecdotes, historical events, and mythology, and relate to a wide range of subjects, including famous warriors, notable women, birds and animals, and goblins and ghosts. The print is contained in a folding book consisting of all 100 prints from Tsuki hyakushi and two indexes that were created after the series was completed. It is believed to have been bound by its former owner. A preface that was written at the same time as the indexes were compiled is not included in the book. Scholars believe that the order of the pictures in the album does not follow the order in which they were published, but instead their order in the indexes, although there are some variations. Tsukioka Yoshitoshi was an ukiyo-e artist from the school of Utagawa Kuniyoshi (1797–1861), active from the Bakumatsu (final years of the Shogunate) into the Meiji Period. He created a wide range of works, including bijin-ga (pictures of beautiful women), fuzoku-ga (pictures of manners and customs), and pictures of historical and literary characters. Completed in the year that he died, this series is highly regarded as the masterpiece of his later years.

One Hundred Aspects of the Moon: Pleasure is This/ To Lie Cool under the Moonflower Bower/ The Man in His Undershirt, the Woman in Her Slip

November 20, 2015, 6:43 am

≫ Next: One Hundred Aspects of the Moon: The Moon of the Milky Way

≪ Previous: One Hundred Aspects of the Moon: Cassia-Tree Moon - Wu Gang

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This print is from Tsuki hyakushi (One hundred aspects of the moon), a collection of 100 large, moon-themed nishiki-e (multicolored woodblock prints) by Tsukioka Yoshitoshi (1839−92). The prints were published in batches by Akiyama Buemon between 1885 and 1892. They depict various aspects of the moon, drawing upon Japanese and Chinese anecdotes, historical events, and mythology, and relate to a wide range of subjects, including famous warriors, notable women, birds and animals, and goblins and ghosts. The print is contained in a folding book consisting of all 100 prints from Tsuki hyakushi and two indexes that were created after the series was completed. It is believed to have been bound by its former owner. A preface that was written at the same time as the indexes were compiled is not included in the book. Scholars believe that the order of the pictures in the album does not follow the order in which they were published, but instead their order in the indexes, although there are some variations. Tsukioka Yoshitoshi was an ukiyo-e artist from the school of Utagawa Kuniyoshi (1797–1861), active from the Bakumatsu (final years of the Shogunate) into the Meiji Period. He created a wide range of works, including bijin-ga (pictures of beautiful women), fuzoku-ga (pictures of manners and customs), and pictures of historical and literary characters. Completed in the year that he died, this series is highly regarded as the masterpiece of his later years.

One Hundred Aspects of the Moon: The Moon of the Milky Way

November 20, 2015, 6:43 am

≫ Next: One Hundred Aspects of the Moon: Jade Rabbit - Sun Wukong, from "Journey to the West"

≪ Previous: One Hundred Aspects of the Moon: Pleasure is This/ To Lie Cool under the Moonflower Bower/ The Man in His Undershirt, the Woman in Her Slip

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This print is from Tsuki hyakushi (One hundred aspects of the moon), a collection of 100 large, moon-themed nishiki-e (multicolored woodblock prints) by Tsukioka Yoshitoshi (1839−92). The prints were published in batches by Akiyama Buemon between 1885 and 1892. They depict various aspects of the moon, drawing upon Japanese and Chinese anecdotes, historical events, and mythology, and relate to a wide range of subjects, including famous warriors, notable women, birds and animals, and goblins and ghosts. The print is contained in a folding book consisting of all 100 prints from Tsuki hyakushi and two indexes that were created after the series was completed. It is believed to have been bound by its former owner. A preface that was written at the same time as the indexes were compiled is not included in the book. Scholars believe that the order of the pictures in the album does not follow the order in which they were published, but instead their order in the indexes, although there are some variations. Tsukioka Yoshitoshi was an ukiyo-e artist from the school of Utagawa Kuniyoshi (1797–1861), active from the Bakumatsu (final years of the Shogunate) into the Meiji Period. He created a wide range of works, including bijin-ga (pictures of beautiful women), fuzoku-ga (pictures of manners and customs), and pictures of historical and literary characters. Completed in the year that he died, this series is highly regarded as the masterpiece of his later years.

One Hundred Aspects of the Moon: Jade Rabbit - Sun Wukong, from "Journey to the West"

November 20, 2015, 6:43 am

≫ Next: One Hundred Aspects of the Moon: Moon at the Helm of a Boat - Taira no Kiyotsune

≪ Previous: One Hundred Aspects of the Moon: The Moon of the Milky Way

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This print is from Tsuki hyakushi (One hundred aspects of the moon), a collection of 100 large, moon-themed nishiki-e (multicolored woodblock prints) by Tsukioka Yoshitoshi (1839−92). The prints were published in batches by Akiyama Buemon between 1885 and 1892. They depict various aspects of the moon, drawing upon Japanese and Chinese anecdotes, historical events, and mythology, and relate to a wide range of subjects, including famous warriors, notable women, birds and animals, and goblins and ghosts. The print is contained in a folding book consisting of all 100 prints from Tsuki hyakushi and two indexes that were created after the series was completed. It is believed to have been bound by its former owner. A preface that was written at the same time as the indexes were compiled is not included in the book. Scholars believe that the order of the pictures in the album does not follow the order in which they were published, but instead their order in the indexes, although there are some variations. Tsukioka Yoshitoshi was an ukiyo-e artist from the school of Utagawa Kuniyoshi (1797–1861), active from the Bakumatsu (final years of the Shogunate) into the Meiji Period. He created a wide range of works, including bijin-ga (pictures of beautiful women), fuzoku-ga (pictures of manners and customs), and pictures of historical and literary characters. Completed in the year that he died, this series is highly regarded as the masterpiece of his later years.

One Hundred Aspects of the Moon: Moon at the Helm of a Boat - Taira no Kiyotsune

November 20, 2015, 6:43 am

≫ Next: One Hundred Aspects of the Moon: Faith in the Third-Day Moon - Yukimori

≪ Previous: One Hundred Aspects of the Moon: Jade Rabbit - Sun Wukong, from "Journey to the West"

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This print is from Tsuki hyakushi (One hundred aspects of the moon), a collection of 100 large, moon-themed nishiki-e (multicolored woodblock prints) by Tsukioka Yoshitoshi (1839−92). The prints were published in batches by Akiyama Buemon between 1885 and 1892. They depict various aspects of the moon, drawing upon Japanese and Chinese anecdotes, historical events, and mythology, and relate to a wide range of subjects, including famous warriors, notable women, birds and animals, and goblins and ghosts. The print is contained in a folding book consisting of all 100 prints from Tsuki hyakushi and two indexes that were created after the series was completed. It is believed to have been bound by its former owner. A preface that was written at the same time as the indexes were compiled is not included in the book. Scholars believe that the order of the pictures in the album does not follow the order in which they were published, but instead their order in the indexes, although there are some variations. Tsukioka Yoshitoshi was an ukiyo-e artist from the school of Utagawa Kuniyoshi (1797–1861), active from the Bakumatsu (final years of the Shogunate) into the Meiji Period. He created a wide range of works, including bijin-ga (pictures of beautiful women), fuzoku-ga (pictures of manners and customs), and pictures of historical and literary characters. Completed in the year that he died, this series is highly regarded as the masterpiece of his later years.

One Hundred Aspects of the Moon: Faith in the Third-Day Moon - Yukimori

November 20, 2015, 6:43 am

≫ Next: One Hundred Aspects of the Moon: The Moon Glimmers like Bright Snow/ And Plum Blossoms Appear like Reflected Stars/ Ah! The Golden Mirror of the Moon Passes Overhead/ As Fragrance from the Jade Chamber Fills the Garden - Sugawara no Michizane

≪ Previous: One Hundred Aspects of the Moon: Moon at the Helm of a Boat - Taira no Kiyotsune

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This print is from Tsuki hyakushi (One hundred aspects of the moon), a collection of 100 large, moon-themed nishiki-e (multicolored woodblock prints) by Tsukioka Yoshitoshi (1839−92). The prints were published in batches by Akiyama Buemon between 1885 and 1892. They depict various aspects of the moon, drawing upon Japanese and Chinese anecdotes, historical events, and mythology, and relate to a wide range of subjects, including famous warriors, notable women, birds and animals, and goblins and ghosts. The print is contained in a folding book consisting of all 100 prints from Tsuki hyakushi and two indexes that were created after the series was completed. It is believed to have been bound by its former owner. A preface that was written at the same time as the indexes were compiled is not included in the book. Scholars believe that the order of the pictures in the album does not follow the order in which they were published, but instead their order in the indexes, although there are some variations. Tsukioka Yoshitoshi was an ukiyo-e artist from the school of Utagawa Kuniyoshi (1797–1861), active from the Bakumatsu (final years of the Shogunate) into the Meiji Period. He created a wide range of works, including bijin-ga (pictures of beautiful women), fuzoku-ga (pictures of manners and customs), and pictures of historical and literary characters. Completed in the year that he died, this series is highly regarded as the masterpiece of his later years.

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One Hundred Aspects of the Moon: The Moon Glimmers like Bright Snow/ And Plum Blossoms Appear like Reflected Stars/ Ah! The Golden Mirror of the Moon Passes Overhead/ As Fragrance from the Jade Chamber Fills the Garden - Sugawara no Michizane

November 20, 2015, 6:43 am

≫ Next: One Hundred Aspects of the Moon: Full Moon/ On the Tatami Mats/ Shadows of the Pine Branches - Kikaku

≪ Previous: One Hundred Aspects of the Moon: Faith in the Third-Day Moon - Yukimori

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This print is from Tsuki hyakushi (One hundred aspects of the moon), a collection of 100 large, moon-themed nishiki-e (multicolored woodblock prints) by Tsukioka Yoshitoshi (1839−92). The prints were published in batches by Akiyama Buemon between 1885 and 1892. They depict various aspects of the moon, drawing upon Japanese and Chinese anecdotes, historical events, and mythology, and relate to a wide range of subjects, including famous warriors, notable women, birds and animals, and goblins and ghosts. The print is contained in a folding book consisting of all 100 prints from Tsuki hyakushi and two indexes that were created after the series was completed. It is believed to have been bound by its former owner. A preface that was written at the same time as the indexes were compiled is not included in the book. Scholars believe that the order of the pictures in the album does not follow the order in which they were published, but instead their order in the indexes, although there are some variations. Tsukioka Yoshitoshi was an ukiyo-e artist from the school of Utagawa Kuniyoshi (1797–1861), active from the Bakumatsu (final years of the Shogunate) into the Meiji Period. He created a wide range of works, including bijin-ga (pictures of beautiful women), fuzoku-ga (pictures of manners and customs), and pictures of historical and literary characters. Completed in the year that he died, this series is highly regarded as the masterpiece of his later years.

One Hundred Aspects of the Moon: Full Moon/ On the Tatami Mats/ Shadows of the Pine Branches - Kikaku

November 20, 2015, 6:43 am

≫ Next: One Hundred Aspects of the Moon: Shizu Peak Moon - Hideyoshi

≪ Previous: One Hundred Aspects of the Moon: The Moon Glimmers like Bright Snow/ And Plum Blossoms Appear like Reflected Stars/ Ah! The Golden Mirror of the Moon Passes Overhead/ As Fragrance from the Jade Chamber Fills the Garden - Sugawara no Michizane

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This print is from Tsuki hyakushi (One hundred aspects of the moon), a collection of 100 large, moon-themed nishiki-e (multicolored woodblock prints) by Tsukioka Yoshitoshi (1839−92). The prints were published in batches by Akiyama Buemon between 1885 and 1892. They depict various aspects of the moon, drawing upon Japanese and Chinese anecdotes, historical events, and mythology, and relate to a wide range of subjects, including famous warriors, notable women, birds and animals, and goblins and ghosts. The print is contained in a folding book consisting of all 100 prints from Tsuki hyakushi and two indexes that were created after the series was completed. It is believed to have been bound by its former owner. A preface that was written at the same time as the indexes were compiled is not included in the book. Scholars believe that the order of the pictures in the album does not follow the order in which they were published, but instead their order in the indexes, although there are some variations. Tsukioka Yoshitoshi was an ukiyo-e artist from the school of Utagawa Kuniyoshi (1797–1861), active from the Bakumatsu (final years of the Shogunate) into the Meiji Period. He created a wide range of works, including bijin-ga (pictures of beautiful women), fuzoku-ga (pictures of manners and customs), and pictures of historical and literary characters. Completed in the year that he died, this series is highly regarded as the masterpiece of his later years.

One Hundred Aspects of the Moon: Shizu Peak Moon - Hideyoshi

November 20, 2015, 6:43 am

≫ Next: One Hundred Aspects of the Moon: The Moon's Four Strings - Semimaru

≪ Previous: One Hundred Aspects of the Moon: Full Moon/ On the Tatami Mats/ Shadows of the Pine Branches - Kikaku

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This print is from Tsuki hyakushi (One hundred aspects of the moon), a collection of 100 large, moon-themed nishiki-e (multicolored woodblock prints) by Tsukioka Yoshitoshi (1839−92). The prints were published in batches by Akiyama Buemon between 1885 and 1892. They depict various aspects of the moon, drawing upon Japanese and Chinese anecdotes, historical events, and mythology, and relate to a wide range of subjects, including famous warriors, notable women, birds and animals, and goblins and ghosts. The print is contained in a folding book consisting of all 100 prints from Tsuki hyakushi and two indexes that were created after the series was completed. It is believed to have been bound by its former owner. A preface that was written at the same time as the indexes were compiled is not included in the book. Scholars believe that the order of the pictures in the album does not follow the order in which they were published, but instead their order in the indexes, although there are some variations. Tsukioka Yoshitoshi was an ukiyo-e artist from the school of Utagawa Kuniyoshi (1797–1861), active from the Bakumatsu (final years of the Shogunate) into the Meiji Period. He created a wide range of works, including bijin-ga (pictures of beautiful women), fuzoku-ga (pictures of manners and customs), and pictures of historical and literary characters. Completed in the year that he died, this series is highly regarded as the masterpiece of his later years.

One Hundred Aspects of the Moon: The Moon's Four Strings - Semimaru

November 20, 2015, 6:43 am

≫ Next: One Hundred Aspects of the Moon: The Yūgao Chapter from "The Tale of Genji"

≪ Previous: One Hundred Aspects of the Moon: Shizu Peak Moon - Hideyoshi

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This print is from Tsuki hyakushi (One hundred aspects of the moon), a collection of 100 large, moon-themed nishiki-e (multicolored woodblock prints) by Tsukioka Yoshitoshi (1839−92). The prints were published in batches by Akiyama Buemon between 1885 and 1892. They depict various aspects of the moon, drawing upon Japanese and Chinese anecdotes, historical events, and mythology, and relate to a wide range of subjects, including famous warriors, notable women, birds and animals, and goblins and ghosts. The print is contained in a folding book consisting of all 100 prints from Tsuki hyakushi and two indexes that were created after the series was completed. It is believed to have been bound by its former owner. A preface that was written at the same time as the indexes were compiled is not included in the book. Scholars believe that the order of the pictures in the album does not follow the order in which they were published, but instead their order in the indexes, although there are some variations. Tsukioka Yoshitoshi was an ukiyo-e artist from the school of Utagawa Kuniyoshi (1797–1861), active from the Bakumatsu (final years of the Shogunate) into the Meiji Period. He created a wide range of works, including bijin-ga (pictures of beautiful women), fuzoku-ga (pictures of manners and customs), and pictures of historical and literary characters. Completed in the year that he died, this series is highly regarded as the masterpiece of his later years.

One Hundred Aspects of the Moon: The Yūgao Chapter from "The Tale of Genji"

November 20, 2015, 6:43 am

≫ Next: The Special Features of Antarctic France, Otherwise Called America, and of Several Lands and Islands Discovered in Our Time

≪ Previous: One Hundred Aspects of the Moon: The Moon's Four Strings - Semimaru

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This print is from Tsuki hyakushi (One hundred aspects of the moon), a collection of 100 large, moon-themed nishiki-e (multicolored woodblock prints) by Tsukioka Yoshitoshi (1839−92). The prints were published in batches by Akiyama Buemon between 1885 and 1892. They depict various aspects of the moon, drawing upon Japanese and Chinese anecdotes, historical events, and mythology, and relate to a wide range of subjects, including famous warriors, notable women, birds and animals, and goblins and ghosts. The print is contained in a folding book consisting of all 100 prints from Tsuki hyakushi and two indexes that were created after the series was completed. It is believed to have been bound by its former owner. A preface that was written at the same time as the indexes were compiled is not included in the book. Scholars believe that the order of the pictures in the album does not follow the order in which they were published, but instead their order in the indexes, although there are some variations. Tsukioka Yoshitoshi was an ukiyo-e artist from the school of Utagawa Kuniyoshi (1797–1861), active from the Bakumatsu (final years of the Shogunate) into the Meiji Period. He created a wide range of works, including bijin-ga (pictures of beautiful women), fuzoku-ga (pictures of manners and customs), and pictures of historical and literary characters. Completed in the year that he died, this series is highly regarded as the masterpiece of his later years.

The Special Features of Antarctic France, Otherwise Called America, and of Several Lands and Islands Discovered in Our Time

November 20, 2015, 6:43 am

≫ Next: The Story of the Chevalier des Grieux and of Manon Lescaut

≪ Previous: One Hundred Aspects of the Moon: The Yūgao Chapter from "The Tale of Genji"

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André Thevet (1516‒92) was a Franciscan friar who traveled widely and, through his writings, helped to establish cosmographie—as geography was called at the time—as a science in 16th-century France. After making trips to Africa and the Middle East in the 1540s, he was appointed chaplain to the expedition of Nicolas Durand de Villegagnon, which set out from Le Havre in May 1555 to establish a colony in Brazil. The expedition landed near present-day Rio de Janeiro in November of the same year. In January 1556, Thevet fell ill and left Brazil for France. The following year, he published this account of his voyage, Les singularités de la France antarctique (The special features of Antarctic France). The work was highly popular and led to his appointment as royal cosmographer. Thevet’s account includes descriptions of the coast of Africa, the Canary Islands, and Madagascar, all of which he visited on the way to Brazil, as well as of Florida and Canada, which he may have visited on his return trip. His descriptions of the native peoples he encountered and their customs and beliefs, as well as of the plants and animals he saw, are written in a plain, factual style. The work is illustrated with woodcuts, many of which are highly inaccurate, but which nonetheless influenced works by later travelers such as Theodor de Bry. The 1557 edition of Thevet’s book was published in Paris. Shown here is an edition printed in Antwerp in 1558 by Christopher Plantin (1520–89), the greatest typographer and printer-publisher of his day.

The Story of the Chevalier des Grieux and of Manon Lescaut

November 20, 2015, 6:43 am

≫ Next: Narrative of Le Moyne, an Artist who Accompanied the French Expedition to Florida Under Laudonnière, 1564

≪ Previous: The Special Features of Antarctic France, Otherwise Called America, and of Several Lands and Islands Discovered in Our Time

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Histoire du chevalier des Grieux et de Manon Lescaut (Story of the Chevalier des Grieux and of Manon Lescaut), more commonly known as Manon Lescaut, is a novel by the Abbé Prévost (1697‒1763), first published in Paris in 1731. Considered scandalous at the time, it was immediately banned. The novel tells the story of Chevalier des Grieux and his lover, the amoral courtesan Manon Lescaut. Des Grieux is from a noble family, but he forfeits his inheritance when he displeases his father and runs away with Manon. The two live together in Paris for a time, but des Grieux begins a downward descent into poverty and criminality. Manon is eventually deported as a prostitute to New Orleans, where des Grieux follows her. After a series of misadventures, the couple flees into the wilderness of Louisiana, where Manon dies of exposure and exhaustion. Des Grieux returns to France. This novel originally formed the last part of a seven-volume series called Mémoires et aventures d'un homme de qualité (Memoirs and adventures of a man of quality). Presented here is the two-volume edition of the novel published in Amsterdam in 1753, which was revised and corrected by the author. The book is illustrated with engravings, including one that depicts the deportation of Manon Lescaut to Louisiana (after page 182 of volume two) and another showing her death in “a savage American land” (after page 240 of the same volume). The story was later adopted for the operas Manon (1884) by Jules Massenet (1842‒1912) and Manon Lescaut (1893) by Giacomo Puccini (1858‒1924).

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Narrative of Le Moyne, an Artist who Accompanied the French Expedition to Florida Under Laudonnière, 1564

November 20, 2015, 6:43 am

≫ Next: Algonquin Grammar or on the Natives of North America, with the Description of the Country, Journals of Voyages, Memoirs, Remarks on Natural History, Et Cetera, Et Cetera

≪ Previous: The Story of the Chevalier des Grieux and of Manon Lescaut

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Great collections of travel narratives were published in Europe in the second half of the 16th century, reflecting more than a century of European effort to take possession of the New World, both materially and intellectually. A series of travel narratives, known today as “Great and Small Voyages,” was published in Frankfurt from 1590 to 1634 by the print shop of Theodor de Bry. This collection was distinguished by the importance and the quality of its intaglio illustrations, engraved in copper plate, and produced for the most part using authentic models. The second volume of “Great Voyages” appeared in 1591 and was devoted to Florida. In addition to the accounts by the explorers Jean Ribault and René Goulaine de Laudonnière, it contained a series of 42 engravings based on drawings and watercolors executed on location by Jacques Le Moyne de Morgues (circa 1533‒88), a Protestant painter from Dieppe. De Morgues accompanied Laudonnière to Florida in 1564 and escaped the massacre of French colonists by a Spanish armada the following year. His engravings are the only surviving visual testimony to an Indian nation that is now extinct, the Timucua Indians of Florida, with whom the French sought an alliance at the time of their attempted settlement. A dozen drawings were devoted to the countries explored by the French; a second series concerned Timucua warfare and rites; and the last series illustrated the customs and organization of their society. Accompanied by brief explanatory texts, these engravings are exceptional ethnographic documents regarding one of the vanished peoples of the New World.

Algonquin Grammar or on the Natives of North America, with the Description of the Country, Journals of Voyages, Memoirs, Remarks on Natural History, Et Cetera, Et Cetera

November 20, 2015, 6:43 am

≫ Next: Memoir on Louisiana to be Presented with a Map of This Land to the Sovereign Council of the Navy

≪ Previous: Narrative of Le Moyne, an Artist who Accompanied the French Expedition to Florida Under Laudonnière, 1564

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Louis Nicolas (active 1667‒75) was a French Jesuit who in 1664 was sent to Canada as a missionary, where he remained until 1675. He traveled widely and developed a keen interest in the people, languages, flora, and fauna of New France. He wrote three major works, none of which was published in his lifetime but which survived in manuscript form: Histoire naturelle des Indes occidentales (Natural history of the West Indies); the pictorial manuscript known as the Codex Canadensis; and the work presented here, Grammaire algonquine ou des sauvages de l’Amérique septentrionale (Algonquin grammar or on the natives of North America). Nicolas lived for a time at the Jesuit habitation in Sillery (in present-day Quebec). In 1667 he left on his first mission, traveling with Father Claude Allouez to the Ottawa near Lake Superior. He later spent a year in the Iroquois lands south of Lake Ontario. He returned to Sillery in 1671 and, having perfected his knowledge of Algonquin, wrote his grammar between 1672 and 1674. Nicolas’s manuscript is heavily marked with his own revisions, especially the initial pages, in which he outlines a grand plan to produce not only a grammar of Algonquin but also a complete catechism in the language; as well as a topography of the New World, including a natural history of its plant and animal life; and a work on the politics, customs, and religion of the natives. The manuscript is signed "Messire Louis Nicolas Prêtre" (Louis Nicolas, Missionary Priest), and dedicated to the Dauphin, the heir to King Louis XIV. Never very successful as a missionary, Nicolas returned to France in 1675 and was released from the Jesuit order in December 1678, although he remained a priest. Nothing is known of his subsequent life or when and where he died.

Memoir on Louisiana to be Presented with a Map of This Land to the Sovereign Council of the Navy

November 20, 2015, 6:43 am

≫ Next: Compilation of Rules, Edicts, Declarations and Decisions on Trade, the Justice System and the Police in America’s French Colonies. Including the “Code Noir”

≪ Previous: Algonquin Grammar or on the Natives of North America, with the Description of the Country, Journals of Voyages, Memoirs, Remarks on Natural History, Et Cetera, Et Cetera

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Memoire sur la Louisiane (Memoir on Louisiana) is a 23-page handwritten document by the French priest François Le Maire (1575–1658), written for presentation to the sovereign council of the Navy in March 1717, some months before the Compagnie d’Occident (Company of the West) was established with a business monopoly in New France in August of that year. After describing the present state of the young colony (including its geography, ports, natives, and colonists), the author sets forth France’s interests in developing Louisiana and “the most appropriate means” for achieving this goal. The memoir is signed: “François Le Maire, priest of Paris, apostolic missionary of the house and seminary of foreign missions in Paris. At Fort Louis, Louisiana, 1 March 1717.” Fort Louis (present-day Mobile, Alabama) was the capital of Louisiana until 1722. At the end of the memoir is a map of North America, based on “the latest memoirs collected for the establishment of the Company of the West.” New France is shown as extending from the Gulf of Saint Lawrence to the Gulf of Mexico, including the present-day state of Florida. The lands east of the Allegheny and Appalachian Mountains are shown as English colonies and not part of New France. The inset map in the upper left shows the colony of Louisiana and the confluence of the Mississippi River with the Gulf of Mexico.

Compilation of Rules, Edicts, Declarations and Decisions on Trade, the Justice System and the Police in America’s French Colonies. Including the “Code Noir”

November 20, 2015, 6:43 am

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In 1717, French finance minister John Law decided to introduce the importation of slaves into the colony of Louisiana, with the goal of developing the plantation economy in Lower Louisiana. The Compagnie des Indes (Company of the Indies) subsequently obtained the monopoly on economic activity in the region and between 1719 and 1743 imported approximately 6,000 slaves to the colony. To regulate relations between slaves and colonists, the Louisiana Code noir, or slave code, was introduced in 1724. Based largely on the code compiled in 1685 for the French colonies in the Caribbean, its 55 articles regulated the status of slaves and free blacks, as well as relations between masters and slaves. Contrary to the edict of 1685, it prohibited marriage and sexual relations between persons of European and African ancestry. It also specified the corporal punishments for cases of theft or escape. As in the Caribbean, the Code noir was frequently subverted and contravened. With the complicity of local authorities and royal courts, many planters put the code into effect only when it was convenient for them. They were obligated to instruct their slaves in the Catholic faith, to furnish them with food and clothing, and to allow them Sundays and holidays off. Planters were forbidden from mistreating their slaves. Certain planters, however, acted with extreme harshness toward their slaves. Others granted their slaves relative liberty of action, allowing them, for example, to raise chickens or pigs, to cultivate small individual plots of land, and even occasionally to possess firearms. Presented here is the 1744‒45 version of the Code noir, which includes the code of 1724 and such additions and amendments as were made in the following two decades.

New Voyages to North America by the Baron de Lahontan

November 20, 2015, 6:43 am

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Louis-Armand de Lom d’Arce, baron de Lahontan (1666‒1716), was a French soldier who was sent to North America in 1683. He participated in the French campaign against the Iroquois on Lake Ontario in 1684 and was put in command of Fort Saint-Joseph (present-day Niles, Michigan) in 1687. In 1688‒89 he explored along the Fox and Wisconsin Rivers and the region around present-day Green Bay, Wisconsin. He returned to France in 1692, but fled to Portugal the following year in a dispute with Jacques-François de Monbeton de Brouillan, governor of Placentia (Plaisance) and of Acadia, who had accused him of insubordination. Lahontan spent the rest of his life wandering around Europe. In 1703 he published Nouveaux voyages de Mr. le Baron de Lahontan dansl’Amérique septentrionale (New voyages to North America by the Baron de Lahontan), a two-volume work that is considered the best 17th-century book on New France. Volume one is written in the form of 25 letters that contain descriptions of places Lahontan visited and accounts of his travels. Volume two contains a sequel to the first volume, Mémoires de l’Amérique septentrionale, which is a detailed description of the geography, commerce, and people of North America. The book includes illustrations and a map. It concludes with Petit dictionnaire de la langue des sauvages (Small dictionary of the language of the Indians), which is mainly a glossary of Algonquin words and their French equivalents, with a small number of Huron words as well. Lahontan’s book was widely read, pirated, and translated in Europe, and influenced how such 18th-century thinkers as Voltaire, Montesquieu, and Jonathan Swift thought about non-European peoples.