Volume XVIII, Number 4 Fall 2000

“LUISIANA”: THE SPANISHDetail, Mapa Maritimo del Golfo de Mexico e Islas de la America...by Thomas Lopez and Juan de la Cruz, 1755 (1976.149); inset, minia-ture painting representing Spain and New Spain under the rule of CarlosIII, from Reales Cédulas, 1783 (MSS 314)

o u i s i a n a ’ s S p a n i s h colonial years will be the sub-j e c t o f the s i x th annua lWilliams Research CenterS y m p o s i u m , B o u r b o n

Louisiana: Reflections of the SpanishEnlightenment, on Saturday, January 20,2001. Spain acquired Louisiana in 1762and remained in command of the colonyuntil 1803. During those years, Spanishofficers entered into the existing Frenchculture through marriage alliances, and thecity survived two disastrous fires, while asuccession of Spanish administrators gov-erned the colony, leaving a meticulousrecord of daily life that is preserved inmany thousands of documents. Moreimportant, Spain controlled the strategical-ly situated port of New Orleans, a naturaldistribution point for goods shipped downthe Mississippi River.

Concern over the European balance ofpower prompted France, engaged in theSeven Years War with Great Britain, tocede Louisiana to Spain. Louis XV con-vinced his Bourbon cousin Carlos III toaccept his “gift” of a colony that had been apersistent drain on French resources—and,he reasoned, better a Spanish Luisiana thanone occupied by the British.

Spanish rule began inauspiciously.

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Spain possesses all the right bank, in descending the Mississippi River(whose origin until today is unknown), and a part of the left bank, fromManchac to the sea. This last part is about one hundred leagues long because of the meanderings of the river and forms an island on which New Orleans is situated, about thirty leagues distant from the sea.

—Francisco Bouligny, Memoria, 1776

“LUISIANA”: THE SPANISH

Pamphlet, in French, documenting the establishment of laws based on Spanish jurisprudence,1769 (98-001-RL.1967)

Transferred to Spain undert h e s e c r e t Tr e a t y o fF o n t a i n e b l e a u i nN o v e m b e r 1 7 6 2 , t h ecolony remained funda-mentally French until theend of the decade—that is,until a small revolutiontook place. A group of dis-satisfied French-speakingcolonists banished the firstSpanish governor, Antoniode Ulloa, partly as a resultof a 1768 roya l decreespelling out restrictive trad-ing regulations. In 1769Alejandro O’Reilly, Irish bybirth, now in the service ofthe Spanish king, arrived inLouisiana to establish orderand punish the leaders ofthe revolt. In late fall ofthat year, he c rea ted aSpanish cabildo to serve asthe colony’s representativecouncil. A rare pamphlet,p a r t o f t h e U r s u l i n eCollection acquisit ion,documents the establish-ment of l aws based onSpanish jurisprudence.

Serving as an aide-de-camp to O’Reilly in 1769was a young lieutenant,Francisco Bouligny, whose domestic andpolitical fortunes paralleled the period ofSpanish rule in Louisiana. After six years inthe colony and a 13-year absence fromSpain, Bouligny returned to his nativecountry in 1775 with the thought ofexpanding his business prospects and, pos-sibly, advancing his military career. Heextended his stay throughout the next year,1776, when he began to write the Memoriain which he described conditions in thecolony for the powerful minister of theIndies, José de Gálvez. That same year aroyal order named the minister’s nephew,Bernardo de Gálvez, governor of Louisiana._______

Wood is, first of all, so abundantthat it is difficult to conceive of.

On the island of New Orleansalone, from the edge of the sea toManchac, there are more than one hundred square leagues full of cypress or false pine, as thick as hair.

—Francisco Bouligny, Memoria

Bouligny’s Memoria served to bringthe distant colony to the attention of theministry of the Indies after a period ofneglect. And it was time to strengthen thecolony’s important position: Louisiana wasthe buffer between British West Florida to

the east and Spanish Texast o t h e w e s t . B o u l i g n ydescribed the geography oflower Louisiana and theabundance of natural prod-ucts—wood, flax, hemp,indigo, as well as cotton,corn, rice, sugar, vegetablewax, s i lk , and tobacco.Promoting his adopted land,he was not above hyperbolewhen he depicted an idylliclife in the colony, “an earth-ly paradise.” He continued,“The women are all fertileand there is no marriagewhich does not have abun-dant children.” He com-mended the manner andwork habits of the Creolepopulation and pronouncedthem good colonists.

But change was needed.Bouligny advocated morelenient trading regulationsw i t h o t h e r c o u n t r i e s ,because, he wrote, in almosta decade only six or sevens h i p s f r o m S p a i n h a db r o u g h t g o o d s t o t h ec o l o n y. S p a i n s h o u l dincrease Louisiana’s popula-tion, build more forts, andi m p o r t m o r e s l a v e s .

Bouligny pointed out that Spanish accessto the Mississippi River depended onmaintaining friendship with the Indians.Bouligny viewed his “earthly paradise”with clear eyes, writing that “we mustattend to the precise need to provide arapid remedy, not only to stop its [thecolony’s] decline and perhaps total ruin,but also to assist it with all the develop-ment it can take.”_______

Twenty years later a Frenchman,newly arrived in Spanish Louisiana,described the colony from a Gallic perspec-tive. James Pitot (baptized Jacques FrançoisPitot in Normandy) had left St. Domingue

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Portrait of Francisco Bouligny, ca. 1775 (1980.255.1), gift of George Denègre in the nameof the children of Alma Baldwin Denègre: Nenette Denègre Reed, Capt. Thomas BayneDenègre, U.S.N., and George Denègre

sometime after the revolts of 1791 and,after a brief stay in Philadelphia, moved toNew Orleans in 1796. In 1801 he beganhis memoir, Observations sur la colonie de laLouisiane de 1769 à 1802, taking it withhim when he sailed for France in June1802. The memoir would serve as a kindof publicity piece as Pitot explored theprospect of French business opportunitiesin the colony on the eve of the retrocessionof Louisiana to France. (Napoleon’s imper-i a l p l a n s i n c l u d e d r e c l a i m i n g S t .Domingue and arranging for the return ofLouisiana from Spain.)

Pitot wrote that inept Spanish admin-istrators had left Louisiana in a state ofmediocrity. Some progress had been made,

he conceded, under the Baron deCarondelet, but Pitot had littlegood to say about Carondelet’s suc-cessors, pointing out the confusingstate of affairs after the death ofGovernor Manuel Luis Gayoso.

Despite Spanish rule, Pitotfound the inhabitants still Frenchin their tastes and customs: “Gay,noisy, hospitable, and easy to govern,it would need more education tomoderate its passions, and especiallyto curb the fickleness, curiosity, andsometimes envy that so often troublethe welfare of community life….

The Creoles love pleasure anddissipation; the male is tireless in

hunting; and both sexes throughout thecolony have a particular passion for danc-ing.”

While in Paris, Pitot visited PierreClément Laussat, who would leave forLouisiana the next year to serve as colonialprefect for France. The retrocession of thecolony to France was now of f ic ia l ,although the transfer had been agreedupon two years earlier in the secret Treatyof San Ildefonso in October 1800.

Having been appointed, at my ownrequest, colonial prefect ofLouisiana in 1802, [ I ] saidfarewell to the emperor and leftParis for Rochefort on the first ofDecember, together with my wifeand my three daughters.

– Pierre Clément Laussat, Memoires sur ma vie

à mon fils, pendant les années 1803 et suivantes…

Laussat arrived in New Orleans inMarch 1803. In the memoir that he

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Printed edition of the Treaty of San Lorenzo (1796), also known as Pinckney‘s Treaty.Through this treaty, Spain opened the entire Mississippi River to American traffic andallowed Americans the free use of the port of New Orleans for three years, providing anoutlet for international trade.

Portrait of a gentleman by José Francisco Xavier de Salazar y Mendoza,1797 (1984.14). Salazar was the earliest known painter of prominencein New Orleans during the Spanish colonial period.

_______

addressed to his son in 1831, Laussatrecalled the day when he received permis-sion “for the French flag to be treated likethe Spanish flag” during the interim periodof government. He wrote, “I received peo-ple and cultivated them. I took trips and Ihurried here and there, listening, askingquestions, and taking notes.”

Laussat’s note taking served him well,for, years later in the Memoires, he painteda many faceted portrait of Louisiana in thelast days of Spanish rule. He evoked a landof plantations and ferocious heat, a placede f ined by the broad banks o f theMississippi River. He remembered thebeauty of orange trees and the society ofprovincial dinners. He noted the arrivalfrom Havana of the marquis de Casacalvo,the Spanish brigadier general who was toassist Juan Manuel de Salcedo, governorfor the retrocession of Louisiana. AndLaussat commented that Juan Ventura

Morales, the acting intendant, was at oddswith Salcedo concerning the suppressionof trading privileges, or “right of deposit,”guaranteed to Americans by the Treaty ofSan Lorenzo, also known as Pinckney’sTreaty.

Laussat’s duties would not last long.The rumor could no longer be denied thatthe French flag would replace the Spanishflag for only a short time. With regret,Laussat wrote in September 1803: “Itwould have been difficult to guard Louisianaagainst attacks and intrigues from thatEngland with whom we were beginningagain an implacable war. On the contrary,with the cession of this colony, we fortified theUnited States, already a feared rival of theBritish Empire and added the most beautifulof its gems to the crown of the AmericanConfederation.”

André Maurois summarized thefamous transfer with the brevity of a tal-

ented historian: “The generous was alsothe practical solution.”

— Louise C. Hoffman_____Sources: Gilbert C. Din, Francisco Bouligny: ABourbon Soldier in Spanish Louisiana (Baton Rouge,1993); Gilbert C. Din, ed. and trans., Louisiana in1776: A Memoria of Francisco Bouligny (NewOrleans, 1977); Jack D. L. Holmes, A Guide toSpanish Louisiana, 1762-1806 (New Orleans, 1970);Pierre Clément de Laussat. Memoirs of My LifeDuring the Years 1803…. Translated by Sister Agnes-Josephine Pastwa. Edited by Robert D. Bush (BatonRouge, La., 1978); René J. Le Gardeur, Jr., andHenry C. Pitot, “An Unpublished Memoir ofSpanish Louisiana, 1796-1802,” in Frenchmen andFrench Ways in the Mississippi Valley, ed., JohnFrancis McDermott (Urbana, Ill., 1969); FontaineMartin, A History of the Bouligny Family and AlliedFamilies (Lafayette, La., 1990); James Pitot.Observations on the Colony of Louisiana from 1796 to1802. Translated by Henry C. Pitot. Edited byRobert D. Bush (Baton Rouge, La., 1979).See back cover for symposium details.

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SUPPORT FOR THE SYMPOSIUMThe Historic New Orleans Collectiongratefully acknowledges Bank One as cor-porate sponsor of the symposium inJanuary. In addition, Dorian M. Bennett,Inc., Delta Air Lines, Inc., the PatrimonioNacional of Spain, and the Universidadde Acalá have provided major support.

Additional thanks go to those who havesponsored individual speakers to date:Associated Office Systems, the AzbyFund, BellSouth, the Consulate Generalof Spain in New Orleans, Milling BensonWoodward L.L.P., and the United StatesEmbassy in Madrid. Support also comes

from Louisiana Binding Service andHarvey Press. Discounted parking forsymposium attendees will be provided byU-Park Systems and the Omni RoyalOrleans.

Treaty of Friendship with the Indians, 1794 (MSS 309), signed by François Louis Hector, Baron de Carondelet, governorof Louisiana. The vignette, center, shows Carondelet and an Indian chief. Pictured, top, is the coat of arms of Spain.

h re e s k e t c h b o o k s byEllsworth Woodward,given by Mollie W. Loweand William R. Wynn,Jr., reveal the range ofWoodward’s interest inlandscapes and are a sig-

nificant addition to Ellsworth Woodwardartworks in the Collection’s holdings. Thebooks, containing 54 pencil drawings andfour watercolor paintings executed with asure, steady hand, provide insight into hisdrawing habits. The sketches depictIndians of the American Southwest,mountainous landscapes, adobe buildingsin Colorado and New Mexico, dockscenes , and other v iews in Europe,

New Orleans, and New England—includ-ing Woodward’s ances t ra l home inMassachusetts.

The sketchbooks, dating between1885 and 1915, reveal Woodward’s fasci-nation with the West. Numerous sketchesshow Native Americans engaging in con-

versation, carrying pot-tery jars, or performingceremonial dances. Oneof the f ew prec i s e lyi d e n t i f i e d p l a c e s i sF i s h e r ’s Po i n t n e a rTrinidad in southeasternColorado. Woodwardshows a mountain rangewith mesa formationsand a cluster of homesand a church near themountain’s base. A sec-ond view of this villageis less dist inct in itsdetail. A drawing of apueblo shows ladderspropped along the wallsand a beehive-shapedhorno (oven), which istypically located outsidean adobe s t ruc tu re .

Woodward also explores southwesterncraftwork in sketches showing zigzag pat-terns resembling woven basketwork and ina sketch of a leather pouch forming anexpandable sling that cradles a crockerypot. Another drawing depicts an intricatelypatterned pottery jar.

Woodward’s interest in the westernlandscape is obvious in his careful render-ing of architectural details. Indian Mission,Santa Fe, drawn in 1899, shows simple,quickly sketched geometric shapes, theentirety emphasizing contour. His systemof shad ing comes about through asequence of parallel lines, usually drawn ata 45-degree angle. The vigas, or log sup-ports, characteristically protruding fromthese adobe structures, are shaded withparallel lines running the length of the log,while four parallel lines drawn at an anglecreate shadows below the vigas. Woodwarddefines ladders and balustrades with bolderlines to create depth and shadow. He ren-ders the mountain range with a single lineof demarcation. He skillfully suggestscrowds with select foreground detail.Annotated color schemes appear on anumber of these drawings, with notes like“occasional bright green, lavender gray,”

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EllsworthWoodward:

Sketchesof His

Travels

TBright Angell by Ellsworth Woodward, 1915 (2000.4.3.13). The sketchbooks are the gift of Mollie W. Lowe andWilliam R. Wynn, Jr.

Donkey sketches by Ellsworth Woodward (2000.4.2.10i)

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FROM THE DIRECTORThe Queen of the Southexhibition has been heldover by popular demand,and our book—Queen ofthe South: New Orleans,1853-1862, The Journalof Thomas K. Wharton—is selling well. Not oftend o h i s t o r y i n s t i t u t i o n s h a v e a “best-seller.” In addition, the video productionbased on the exhibition and the book wasWYES-TV’s top-rated program the month ofits debut.

Quite a few new materials have beenadded to the exhibition, so even though youmay have seen it once, you have not seen it all.In addition to the fine presentation silver service given to F. H. Hatch as collector of customs, a service presented to Samuel J . Peters in 1850 for the same reason, was recently acquired and is now displayed inthe exhibition.

As we move into the fall, look for anexciting development on Royal Street. A neworientation center is being prepared in the areathat our long-time patrons will remember asthe location of the research library before theopening of the Williams Research Center. Along-awaited central entrance will orient visi-tors to all of the facets of the Historic NewOrleans Collection. It will be a place to learnabout the historic buildings, the Louisiana his-tory tour, the Williams Residence and gardens,current exhibitions, and how to use theWilliams Research Center. Scheduled foropening this winter, we hope you will find ournew areas as welcoming as we have tried tomake the current ones.

We look forward, also, to the annualWilliams Research Center symposium onJanuary 20, 2001, in the grand ballroom of theOmni Royal Orleans. Bourbon Louisiana:Reflections of the Spanish Enlightenmentpromises to be a fascinating look at anotherpart of our multi-cultural heritage. I wouldlike to express our most sincere gratitude to thecorporate sponsors of the symposium.

And finally, another January event will bethe opening of Marie Adrien Persac: LouisianaArtist in the Royal Street Williams Gallery. Ithas been our pleasure to collaborate withProfessor Pat Bacot and Louisiana StateUniversity as well as the New Orleans NotarialArchives to organize the catalogue and the exhibition now showing at LSU.

—Priscilla Lawrence

BOARD APPOINTMENT

THNOC PUBLICATIONSRECEIVE AWARDS

Mary Louise Christovich, president of theKemper and Leila Williams Foundation,announces the appointment of DrewJardine to the foundation board, govern-ing body of the Historic New OrleansCollection.

Mr. Jardine is managing director of theLouisiana market for Bank One’s WealthManagement Group. He is a graduate ofMercer University in Macon, Georgia, witha degree in economics; he also received anMBA degree in finance from Georgia StateUniversity in Atlanta. He graduated fromthe Cannon Financial Institute Trust Schooland from the College for Financial Planningin Denver. Mr. Jardine is a native ofDouglas, Georgia. He is a board member ofJunior Achievement of Greater NewOrleans, the Better Business Bureau of theGreater New Orleans Area, the ChristianMinistries Foundation, and board chairmanof the Southeast Louisiana Chapter of theAmerican Red Cross.

Queen of the South: New Orleans, 1853-1862, The Journal of Thomas K. Whartonwas one of the winning entries in the2000 Publication Design Competitionsponsored by the Southeastern MuseumsConference. The announcement wasmade at the SEMC annual meeting inKnoxville. Queen of the South was alsorecognized in the American RegionalHistory Publishing Awards competitions p o n s o re d by Ta m a r a c k B o o k s , apublishing company in Boise, Idaho. A

group of other publications, including theHistoric New Orleans Collection Quarterly,placed second in the large library categoryin a competition sponsored by the SpecialLibraries Association. The winners wereannounced at the annual conference inPhiladelphia. The poster/invitation forthe 2000 s ympos ium, Franc e andLouisiana: “Journée d’Étude,” won anaward of exce l lence f rom the NewOrleans Chapter of the Public RelationsSociety of America.

“cadmium moss,” and “ash gray and bluegray under tufts.”

The mesa is still undisturbed today,despite urban development around it. Asturdy brick hotel, built three years beforeWoodward’s 1895 visit, is but a short walkfrom a newly constructed train depot. Thisarea of Trinidad, with the Purgatory Riverrunning through it, still conveys a sense ofthe early West. One can imagine therugged terrain that Woodward traveled asit slowly developed. His series of horsesand burros includes a packhorse, recordinghis own travel experiences. One can traceWoodward’s trail through his sketchbooknorth from Santa Fe to Trinidad, and toLeadville in the central part of Colorado.

Additionally, the sketchbooks recordWoodward’s August 1913 visit to theFrench city of Lisieux in views of a church,sailors, and citizens engaged in daily activi-ties. A view of a vendor, a female customer,and a boy spectator resembles his NewEngland scenes, except for the boy’spatched pantaloons and wooden shoes.The curvilinear pattern of sails lying at thebow of a boat recalls Woodward’s ArtNouveau works. The sketch of a manstruggling with a heavily laden shovel—differing from Woodward’s typically morepassive figures—prefigures 1930s art thatdepicts people engaged in physical labor.

— Judith H. Bonner

Drew Jardine

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O ne o f the h igh l i gh t s o f theHistoric New Orleans Collection’s currentexhibition, Queen of the South: NewOrleans in the Age of Thomas K. Wharton,1853-1862, is the silver service given tocollector of customs Francis HansonHatch. In the exhibition, New Orleans isseen through the journal of Thomas K.Wharton, superintendent of constructionof the New Orleans Custom House. In hisjournal entry of May 12, 1861,Wharton

explains his direct connection with the ser-vice and its presentation on that day. Theofficers of the Custom House and others,including Wharton, had secretly commis-sioned the work. Wharton recorded, “Thelarge salver of solid silver is enriched with abeautiful chased copy of the first perspec-tive drawing I made for the New CustomHouse in 1848, and thus connects meartistically, as well as in the capacity of astrong friend of the Collector….”

The seven-piece set is the most sump-

tuous in design and decoration, as well asthe most lavish in iconography, of all theknown examples of New Orleans-madepresentation silver. It was ordered from thefirm of Terfloth and Küchler to be fash-ioned entirely in coin standard silver. Thispartnership of two German-born silver-smiths was eminently qualified to performthe commission. Together from 1858through 1866, they had already fashionedthe stunning silver salver, pitcher, and g o b l e t s p r e s e n t e d i n 1 8 5 9 b y t h e

Reflections in Silver:The Hatch PresentationCoffee and Tea Service

Silver service presented to Francis H. Hatch, collector of the port of New Orleans.Made by Terfloth and Küchler, coin silver, 1861, lent by Mr. And Mrs. John R. Neal

Washington Artillery Company of NewOrleans to its colonel, James B. Walton(see Crescent City Silver catalogue,Historic New Orleans Collection, 1980).

The Hatch service consists of thepreviously mentioned salver, engravedwith what is arguably the most impor-tant structure erected in 19th-centuryNew Orleans, the granite CustomHouse, still standing on Canal Street.T h e o t h e r p a r t s o f t h e service consist of a coffeepot, twoteapots, a covered sugar basin, and a slopor waste bowl—each decorated with arepoussé and chased vignette illustratingthe commerce of the port of NewOrleans. The seventh piece, a creampitcher, because of its small size, isengraved only with the presentationinscription.

Louisiana left the Union on January26, 1861, and joined the Confederacy inMarch. As the piece was presented onMay 12, 1861, it can be assumed the ser-vice was made in whole or in part whileLouisiana was a sovereign nation and anearly member of the Confederacy. The Custom House, not completed until the 1880s, is shown in its finishedstate, flying the one-star banner of therepublic of Louisiana and the firstnational Confederate flag.

The other pieces in the service werefashioned with conservative, classic pyri-form- or pear-shaped bodies raised on cir-cular bases and having spool-shapedshafts. One side of the coffeepot has bothrepoussé and chased decoration, with aseated female figure set in the midst ofcrates, cotton bales, and barrels. The fig-ure represents Commerce and was appro-priated from the Roman goddess of theGrain or the Harvest, Ceres, for this pur-pose. The image itself appeared common-ly on bank notes and was, therefore, a readysource for the silver engraver. The side ofone of the crates is engraved with the mono-gram “C. K.” for the silversmith ChristophChristian Küchler. Each dome-shaped lid inthe seven-piece set has a different finial rep-resenting a Louisiana-grown product. Thefinial on the coffeepot is a fig.

The first of the two teapots has an

orange as its lid finial. Within a decorativeprogram that combines the real and theimaginary, the first teapot is the most effec-

tive in combining mythological and actualobjects. The Father of Waters, with his legs

bent in a s t r ange way ( s imi l a r toNeptune’s in the famed salt dish made byCellini for Francis I), pours the water ofthe Mississippi River from a ewer. Anocean-going steamship with sails headsdownriver to the Gulf, while a riversteamer makes its way upriver. Othersymbols of this paradise-on-earth themeare ducks taking flight from a Louisianamarsh, palm and other trees and flowers,and even an alligator sunning itself on abank.

The second teapot is crowned withan acorn finial and features an engravedview of the port of New Orleans. Thesource for the vignette is an aerial view ofthe city and port by the delineators JohnWilliam Hill and Franklin Smith, Jr., forthe water-colored lithograph made in1852 by David William Moody. Theimage is entitled New Orleans from theLower Cotton Press. This is certainly oneof the best views of New Orleans in thehalcyon decade before the Civil War.

The sugar basin has a pecan as its lidfinial and is decorated with an image ofBelle Grove Plantation house, its sugarmills, and crops. Belle Grove, designed inthe late Greek Revival style by NewOrleans architect Henry Howard forJohn Andrews, was erected between 1856and 1857. Everything in this viewappears to indicate that Belle Grove was athoroughly modern plantation, includ-ing a steam train for hauling sugarcanefrom field to factory. The design sourcefor the reverse of the sugar basin was avignette of a sugar plantation on the largemap entitled Norman’s Chart of the LowerMississippi delineated by Adrien Persac.

The waste or slop bowl is gracedwith a repoussé and chased bee skip sur-

rounded by swarming bees. This symbol ofindustry dates from ancient times and isused to great effect here.

Francis Hanson Hatch, the recipientof this extraordinary service is an exampleof the type of entrepreneur who came tothe thriving South to seek fame and fortune. Born in Vermont in 1815, hearrived in New Orleans as a youth in 1833.

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Coffeepot, top, with repoussé and chased decoration,depicting female figure seated among crates, cotton bales,and barrels. The finial is in the shape of a fig. Above,teapot crowned with acorn finial, decorated with a viewof the port of New Orleans taken from the 1852lithograph New Orleans from the Lower Cotton Press.

rom the earliest days of theLouisiana colony, musicwas an essential part ofcivil and religious ceremo-nial l i fe. Music manu-scripts—subject to the

vagaries of climate and neglect—arescarce. The only known surviving manu-script from 18th-century Louisiana isfound in the Ursul ine Col lect ion,acquired by THNOC in 1998.

The manuscript was copied in Parisin 1736 by an individual identified as “C.D.” It was published in 1737 by PhilippeNicolas Lottin, under the title NouvellesPoésies spirituelles et morales sur les plusbeaux airs de la musique français et itali-enne avec le bas. The only copy of the pub-lished version is in the Bibliothèque del’Arsenal in Paris. The manuscript copywas given to the Ursul ine nuns by“Monsieur Nicolet” in 1754.

Several differences distinguish themanuscript copy from the published ver-sion. Of the six recueils or “books” of thepublished version, the first four were cre-ated between 1730 and 1733. The

Louisiana version has only four “books,”although the copyist indicates the fifthone is to be copied. The manuscript copydoes not conta in the f ab l e s o f LaFontaine, which are found in the pub-lished version.

Nouvelles Poésies is a remarkable indication of musical taste during theFrench colonial period. The 294 composi-tions are primarily vocal works, withaccompaniment by a variety of baroquemusical instruments. Leading French andItalian composers such as Jean BaptisteL u l l i , Fr a n ç o i s C o u p e r i n , L o u i sMarchand, Louis Nicolas Clérambault,and Henri Desmerest are represented inthe manuscript.

The volume of music represents thepractice, common in the 18th century, ofreplacing the text of a secular compositionwith a religious text to instruct individu-als in the moral values of Christian life.Consistent with the didactic nature ofreligious texts, songs extolling virtues werecopied in red ink and those detailing viceswere copied in black ink.

— Alfred E. Lemmon

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URSULINE COLLECTION

YIELDS RARE

MUSIC MANUSCRIPT

F

He went to work for a grocery brokeragefirm and, through the deaths of older part-ners, found himself the owner of the com-pany at the age of 20. Shortly after hismarriage to a Pensacola widow, SarahStewart Miller, on July 28, 1846, hemoved to St. Helena Parish because of hiswife’s poor health. He stood for election tothe Louisiana State House and won andwas a member of the 1852 LouisianaConstitutional Convention.

For loyal service to the DemocraticParty, President James Buchanan, afterassuming office in January 1857, appointedHatch the customs collector for the port ofNew Orleans on April 1, 1857, a post heheld through January 26, 1861, whenLouisiana left the Union. He served theshort-lived republic of Louisiana in the samecapacity. When Louisiana joined theConfederacy, he was made the Confederatecustoms collector at New Orleans, a posi-tion that lasted until April 1862, when theFederal Navy captured New Orleans. Hewas declared a traitor and most of his prop-erty was seized because he had left NewOrleans to become customs collector andgenera l agent fo r the Confedera teDepartment of the Southwest. When hereturned to New Orleans after the war, hewas financially ruined, but by 1866 he wasable to establish the successful MountInsurance Company. He died at the age of70 in Jefferson Parish.

It is remarkable that this large servicehas managed to stay intact through threegenerations of the family until it was soldin 1988 to a private collector. The ownersare generously sharing this work of artthat, in the opinion of these authors, com-pares very favorably with the work of themore celebrated mid-19th-century silversmithing firms in the East, such as Tiffanyin New York, the Kirk firm in Baltimore,and Gorham in Providence.

— H. Parrott Bacot and Carey Turner Mackie

H. Parrott Bacot and Carey Turner Mackie are coau-thors, with Charles L. Mackie, of Crescent CitySilver, the catalogue, published in 1980, to accompanyan exhibition of 19th-century New Orleans silver. TheHatch silver service was graciously lent to the exhibi-tion by Mr. and Mrs. John R. Neal.

PERSAC EXHIBITION

ERRATUMIn the summer issue of the Quarterly, page 9, the caption identifying the portrait of aCreole gentleman by François Bernard should include the information, gift of Laura SimonNelson. The donor list, page 13 of the summer Quarterly, is for the period January-March2000, not 1999.

An exhibition of works by Marie AdrienPersac jointly sponsored by THNOC andthe Louisiana State University Museum ofArt will open in the Williams Gallery onJanuary 16, 2001. On view will be themost comprehensive gathering of Persac’swork ever assembled, including the rarely

exhibited plantation gouaches from privatecollections and Persac work housed in theNew Orleans Notarial Archives, along withpa in t ing s and d r aw ing s f rom theCollection’s holdings. An accompanyingcatalogue, Marie Adrien Persac: LouisianaArtist (LSU Press), is available in the Shop.

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THE HISTORIC NEW

ORLEANS COLLECTION

encourages research inthe Williams ResearchCenter at 410 ChartresStreet from 10:00 a.m.to 4:30 p.m. Tuesdayt h r o u g h S a t u r d a y( e x c e p t h o l i d a y s ) .

Ca ta loged mate r i a l s ava i l ab l e toresearchers include books, manuscripts,paintings, prints, drawings, maps, pho-tographs, and artifacts about the historyand culture of New Orleans, Louisiana,and the Gulf South. Each year theCollection adds thousands of items to itsholdings by donation or purchase. Only afew recent acquisitions can be noted here.

The South, with its rich history populatedby colorful figures, has inspired countlesswriters, and among southern cities, NewOrleans has always proved an irresistiblelure. Few have evoked a sense of place aswel l as the incomparable Tennessee(Thomas Lanier) Williams (1911-1983).Williams, born in Columbus, Mississippi,lived as a young man in New Orleans andalways felt at home in his favorite city. Thecurrent site of the publications departmentof the Historic New Orleans Collection,722 Toulouse Street, once contained arooming house where Williams lived in1939 and later used as the setting for his1977 play, Vieux Carré. Newly acquiredtypescript pages have expanded the hold-ings of Tennessee Williams materials thatinclude an annotated 1973 draft of theFrench Quarter drama. The penciled addi-tions and deletions seen on early drafts andfragments of works such as The GlassMenagerie, A Streetcar Named Desire, andSummer and Smoke provide insight into therigorous process involved in defining char-acter and developing plot. The collection(ca. 1944-1947) also includes a poem(“Children Who Star In Cinemas forChildren”), notes on film script sequencesand p l a y s , a n e wspape r f r a gmen t ,

MANUSCRIPTS

ACQUISITIONS

Typescript page, top, from A Streetcar Named Desire by Tennessee Williams (2000-33-L); below, selection from letterto Tennessee Williams, from Maria St. Just, signed “Maria” (2000-33-L)

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telegrams, a royalty statement, and lettersfrom Maria St. Just and Audrey Wood.

William Faulkner (1897-1962) is recog-nized as a great American novelist not onlyfor his depiction of the universal humancondition within regional settings but alsofor innovations in style and structure.Faulkner lived much of his life in Oxford,Mississippi, but a six-month stay in NewOrleans in 1925 marked his first sustainedattempts at writing fiction. The Pirate’sAlley Faulkner Society, started in 1990,pays tribute to the literary genius wholived at 624 Pirate’s Alley. The organizationsponsors an annual literary festival and apublication, The Double Dealer Redux.Records donated by the society documentits evolution through files, news clippings,newsletters, letters, posters, photographs,audio- and videocassettes, manuscripts,reviews, and issues of the journal.

Letters and diaries contain eyewitnessaccounts that can have broad culturalimplications when several sources areexamined. Firs t Lt . Noah Gephart ,Regimental Quartermaster–14th Ohio,was stationed in the New Orleans area in1864 during the Civil War. His daily nota-tions include comments on clothes, food,ammunition needs, conflicts, and variousdaily routines. Maj. Emanuel Gephart, hisfather, served in the same regiment and isalso mentioned. The Collection’s growingnumber of diaries and papers illuminatesthe individual lives of participants in his-toric events.

— M. Theresa LeFevre

Two oil portraits come to the Collectionthrough the bequest of René StevenWogan and Mrs . Mildred FaulknerWogan. The portraits depict Wogan familyancestors. Dr. Jean Beugnoil, a prominentphysician in the city during the late 19thcentury, had his portrait painted in three-quarter length in France in 1878 by LeonMaxime Faivre. The bust-length portrait ofJean Baptiste Augustin was painted in1832 by Jean Joseph Vaudechamp.Augustin was professor of Latin at theCollège d’Orléans.

Five photographic views, ca. 1915,

include a portrait of Bernard ConradMeyer, h i s o f f i ce a t Stewar t Cana lCompany, and the New Orleans CoffeeMen’s Association at their first banquet onDecember 20, 1915. The latter photo-graph was taken by H. J. Harvey PhotoCompany. A series of photographs ofBaton Rouge, taken between 1880 and1900 from original glass negatives in thepossession of the Hill Memorial Library atLouisiana State University are the gift ofRhea Rosenberg. A 1909 etching, OldCourtyard by Charles Henry White, is thegift of James Lamantia. A 1930s photo-graph of 2010 Peniston Street, taken by an

unknown photographer, comes from Cary Long.

Two cypress folding shutters, ca. 1850,and a plaster fragment from an interiorfrieze in Belle Grove Plantation locatednear White Castle, Louisiana, are the giftof John Henry Bogie.

The official poster for Mardi Gras2000, depicting Rex, is the gift of WilliamF. Grace, Jr., for the School of Design. Theposter was designed by Anne Scheurichand printed by Planet Publishing. AshtonPhelps, Jr., provided a videotape docu-menting Rex in 1970. A donation of 342carniva l ba l l inv i ta t ions and other

CURATORIAL

Portrait of Jean Baptiste Augustin by Jean Joseph Vaudechamp, 1832 (2000.49.1), bequest ofRené Steven Wogan and Mildred Faulkner Wogan

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ephemera comes from Kevin Keller. Paul Leaman, Jr., donated seven dou-

bloon proofs by H. Alvin Sharpe, createdfor carnival and other special events. Theproofs, designed between 1963 and 1970,are cast in fine silver. They include thetitles: “Hex Doctor,” “Voodoo Queen,”“Reign of Elijah Peters,” “Reign of ZuluBarnes,” “Shawnee,” “Our Fine FeatheredFriends,” and “From Places Far Tho’ WeBe, All Return To Mother Sea.”

— Judith H. Bonner

Sometimes plentiful, sometimes scarce, thematerials that the library acquires fall intoa pattern of cycles. One day, broadsidesand rare pamphlets seem to abound; con-versely, it may be years before a rare pieceof New Orleans sheet music comes tolight.

The acquisition of a group of JohnLaw-related materials reflects this tendency.John Law, described in a recent Wall StreetJournal article as “nicely expert in all man-ner of debaucheries,” has been the subjectof a rash of recent economic histories. Insupport of the growing collection of mate-rials related to John Law’s scheme to estab-lish a company in 1717 with exclusivetrading rights in the Louisiana colony, anoteworthy 1720 pamphlet, MemoireInstructif des Profits et Avantages desInteressez dans la Compagnie des Indes & deMississipy, has been added to the holdings.This rare French pamphlet provides detailsof Law’s Company of the Indies andincludes information that was purportedlyused to prove the company’s financial sta-bility. The failure of the company in 1720was caused by wild speculation amongstockholders and by grossly inflated values.After the crash, the venture was referred todisparagingly as the Mississippi Bubble.

THNOC also acquired a copy of the1936 Maggs Bros. bibliography, TheFrench Colonisation of America, an impor-tant source for documenting materialsrelated to administrative acts in the Frenchcolonies. This annotated bibliographyfocuses on 650 items from the Library ofCardinal Etienne Charles de Loménie deBrienne, who was the minister of finance

under Louis XVI in 1787. The thirdacquisition related to John Law materials isthe comprehensive three-volume work,Great Bubbles, which explores the impactand legacy of the Tulip Mania of 1636, theMississippi Bubble of 1720, and the SouthSea Bubble of the same time period.Volume II contains a fully translated ver-sion of the 1720 Memoire Instructif desProfits…pamphlet described above.

On the heels of a spate of publicityrelated to records in the Ouachita ParishCourthouse concerning land grants to theBaron de Bastrop, THNOC has alsoacquired an extremely rare item, an 1819Natchez imprint entitled Brief of the Titleof the Maison Rouge Grant of Land WithDocuments Explanatory Thereof. The pam-phlet relates to claims on the huge landgrant issued in 1793, which consisted ofsome 30,000 leagues on the OuachitaRiver in north Louisiana. Research indi-cates that the only other known copy ofthis brief was in the celebrated Americanacollection of Thomas Winthrop Streeter. A thorough discussion, including refer-ences to documentary evidence aboutthese Louisiana territorial land grantclaims, may be found in an article in theLouisiana Historical Quarterly (April 1937)describing the Maison Rouge and Bastropland grants.

— Gerald Patout

Mark Flynn, now withthe State Library ofFlor ida , began h i scareer in archival andlibrary materials as ani n t e r n a t t h e

Collection in the early 1980s, workingwith the Eliza Jane Nicholson Papers. Hewas the first student to enroll in the gradu-ate program in archival sciences at theUniversity of New Orleans and was one ofthe founders of the Greater New OrelansArchivists Society. He also received anM.A. degree in library science.

After serving as head of collectiondevelopment for the library at LoyolaUniversity New Orleans, Mr. Flynnbecame head of special collections andarchives at George Mason University inFairfax, Virginia. In the early 1990s, heaccepted a position with the State Libraryof Florida, where he is currently in chargeof the Bureau of Library Development, aprogram that includes putting archivalprojects on the web and supplying specialservices to public schools. He describes hiswork as “an absolute joy.” A lot of theskills he uses in this position he learned atTHNOC. “I use them every day,” he says.

INTERN SPOTLIGHT:MARK FLYNN

ON LOANThe Historic New Orleans Collection lends materials from the permanent collection for specificperiods of time only to other private or public museums, historical, or educational agencies foruse in temporary exhibitions. These institutions must comply with the Collection’s security andenvironmental standards.Materials from the collections will be included in the following exhibitions:

Winnie Davis: Daughter of the ConfederacyBeauvoir: The Jefferson Davis Home and Presidential Library, Biloxi, Mississippi.

Dates of loan: April 29-October 29, 2000New Orleans in 1867: Photographs for Napoleon III

Newcomb Art Gallery, Newcomb College of Tulane University, New Orleans, Louisiana. Dates of loan: September 7-November 23, 2000

Visualizing the BluesThe Dixon Gallery and Gardens, Memphis, Tennessee. Dates of loan:

September 2000-January 2001Alfred Hitchcock

The Montréal Museum of Fine Arts, Montréal, Quebec. Dates of loan: November 16, 2000-March 18, 2001

LIBRARY

IN THE COMMUNITYJan Brantley and Robert Brantley, pho-

tographs on display, Apple Seed Shoppe; JohnMa g i l l , i n t e r v i e w, W D S U - T V; Jo h nLawrence, humanities reviewer for OgdenMuseum of Southern Art.

Speeches: Patricia Brady, Save OurCemeteries; John Lawrence and John Magill,presentation at the Marie Adrien Persacsymposium, LSU Museum of Art; PriscillaLawrence, AASLH/LAM annual meeting,New Orleans.

PUBLICATIONSJohn Magill and John Lawrence, essays in

Marie Adrien Persac: Louisiana Artist (LouisianaState University Press); Pamela Arceneaux,“Guidebooks to Sin: The Blue Books ofStoryville,” in Volume 15 of The LouisianaPurchase Bicentennial Series in Louisiana History(Center for Louis iana Studies) ; HarryRedman, Jr., articles on 19th-century Frenchauthors in Dictionary of Literary Biography,World Encyclopedia of Peace , and ParadeSauvage; Mary Mees, “Yugoslav Immigrantsand the Oyster Industry in Louisiana, 1830-1920,” Cultural Vistas.

PAPERSAlfred Lemmon, “La Musique de la

Louisiane: Le Manuscrit des Ursulines de laNouvelle Orléans,” 15th annual SarrebourgFestival of Baroque Music, Sarrebourg, France;Mark Cave, “Problems and Solutions inDocumenting the History of Childhood,”Society of American Archivists, Denver.

CHANGESAmy Baptist (M.L.I.S., M.A., LSU) has

joined the staff as library cataloger.Amanda Fuller, special

projects, photography; BobbyPalfrey, symposium volun-teer; Wade Toth, volunteerd o c e n t ; S t e p h a n i eBrownlow, intern (UNO),

Sarah Re idy , in te rn(Tulane University), and

Barbara O’Brien, intern(Tulane University). Sue Reyna, formerlylibrary cataloger, has accepted a position at theUniversity of Illinois at Chicago. Thinh Phihas retired from the maintenance department.

MEETINGSChuck Patch , Museum Computer

Network, Las Vegas; Carol Bartels, Mark Cave,Society of American Archivists, Denver; JohnLawrence, AASLH/LAM, New Orleans; LouiseHoffman, Publishers Association of the South,Atlanta; Theresa LeFevre, Warren Woods, AlfredLemmon, John Lawrence, Gerald Patout, JohnMagill, Priscilla Lawrence, Chuck Patch, PatriciaBrady , Kathy Slimp , Human ResourcesManagement Association.

14

Editors:Patricia Brady

Louise C. Hoffman

Head of Photography:Jan White Brantley

The Historic New Orleans CollectionQuarterly is published by the Historic NewOrleans Collection, which is operated b y t h e K e m p e r a n d L e i l a Wi l l i a m sFoundation, a Louisiana nonprofit corpora-tion. Housed in a complex of historic build-ings in the French Quarter, facilities are opento the public, Tuesday through Saturday,from 10:00 a.m. until 4:30 p.m. Tours of thehistory galleries and the residence are avail-able for a nominal fee.

Board of Directors:Mrs. William K. Christovich, President

John E. WalkerFred M. Smith

Charles A. SnyderDrew Jardine

G. Henry Pierson, Jr., emeritus

Priscilla Lawrence, Director

The Historic New Orleans Collection533 Royal Street

New Orleans, Louisiana 70130

Additional photography by:Dustin Booksh

Stephanie Brownlow

Barbara O’Brien

Amanda Fuller

Sarah Reidy

Amy Baptist

STAFF

Addison Wesley Longman, Inc.Archives of the Archdiocese of New OrleansBank One CorporationJohn Henry BogieEric J. BrockMrs. John W. CalhounCatholic Library AssociationMrs. William K. ChristovichOliver J. CounceRobert D’AquinMaurice DenuzièreLars EdegranEditorial Anagrama, S.A.Eli Wilner & CompanyFirst Trinity Evangelical United Church of ChristJohn Geiser IIIBrendon and Kimberly Gill in memory of Paul

Eber Coe, Jr.Marjy GreenbergDr. Gwendolyn Midlo HallThomas G. HardieGene HydenInter-American Development Bank Cultural

CenterJackson Avenue Evangelical Congregation Church

CouncilKevin KellerDaniel B. KilleenRobert J. KilleenThomas KilleenWilliam Howard KuntzJames LamantiaMrs. W. Elliott Laudeman IIIPaul J. Leaman, Jr.Michael LedetDr. Alfred E. LemmonCary LongLouisiana State University PressLouisiana State University Department of

Geography and Anthropology Paul C. Newfield IIICarolyn P. NorgaardEvelyn PailhesGerald F. Patout, Jr.Michael PatrykusAshton Phelps, Jr.Pickering & Chatto Publishers, Ltd.G. Henry Pierson, Jr.Leclare Bush Ratterree IIIDr. Alexander RitterSharon RobinsonRhea RosenbergMichael W. SandersSchool of DesignLois Greene StoneRoulhac ToledanoTimothy TrapolinPeter W. B. TruebloodUniversity of New Mexico PressDr. Thomas E. WeissBetty WilliamsEstate of Mildred Faulkner WoganEstate of René Steven WoganZion Lutheran Church

DONORS: APRIL–JUNE 2000

AT THE COLLECTION

THE SHOP

15

PLEASE SEND AmountHardee map of New Orleans______ unframed, $ 25 ________________ framed, $125 __________Shipping and Handling __________

$8 unframed (includes mailing tube) __________$35 framed __________

Taxes as applicable:9% Orleans Parish __________4% other La. Residents __________

Total Amount Due__________

Name:

Address:

City, State, Zip:

Visa MasterCard Check or Money order

Account Number:

Exp. Date:

Signature:

Now available for purchase in the Shop isa facsimile of the 1878 Hardee map ofNew Orleans. Thomas Sydenham Hardeedelineated the original map, entitledTopographical and Drainage Map of NewOrleans and Surroundings from RecentSurveys and Investigations (00.34A), whichwas printed by Lewis Graham, 73 CampStreet. The original is a lithograph withwatercolor. The facsimile measures 271/2

inches (width) by 28 inches (height).

Pictured at the Museums After Dark reception for museum professionals held at THNOC last summer are JohnMagill, far left, and, above left, Priscilla Lawrence with James Sefcik, director of the Louisiana State Museum. Recentlectures at THNOC include talks by Judith Bonner, above right, on “New Orleans at War in the 20th Century,” and“Women Artists in New Orleans,” features of the continuing Third Saturday programs. Claire Mire Bettag, far right,led a workshop, “Spanish Language Church Records,” for non-Spanish speaking genealogists in August.

KEMPER AND LEILA WILLIAMS FOUNDATIONTHE HISTORIC NEW ORLEANS COLLECTIONMuseum • Research Center • Publisher533 Royal StreetNew Orleans, Louisiana 70130(504) 523-4662Visit the Collection on the Internet at www.hnoc.orgADDRESS SERVICE REQUESTED

SIXTH ANNUAL WILLIAMS RESEARCH CENTER SYMPOSIUM

SATURDAY, JANUARY 20, 2001GRAND BALLROOM, OMNI ROYAL ORLEANS

621 ST. LOUIS STREET, NEW ORLEANS

Dr. Guillermo Náñez Falcón, Tulane Universitymoderator

Dr. Ralph Lee Woodward, Jr., Texas Christian University“Louisiana Under Bourbon Spain: Commercial

and Economic Policy, 1763-1803”

Dr. Gilbert C. Din, professor emeritus Fort Stewart College, Colorado

“ Perspectives on the Canary Islanders of Louisiana”

Dr. Vicente Ribes, Universidad de Valencia“The Valencian Background of Some Louisiana Families”

Dr. Sylvia L. Hilton, Universidad Complutense, Madrid“ ‘This Vast and Restless Population’: Spanish Views on Anglo-

Americans in the Mississippi Valley, 1763-1803”

Dr. Alfred E. Lemmon, Historic New Orleans Collection“Sources for Spanish Louisiana History at the

Williams Research Center”

Dr. Leticia Ruiz, The Prado “Painting in Bourbon Spain, 1760-1800”

Judith H. Bonner, Historic New Orleans Collection“José Francisco Xavier de Salazar y Mendoza:

Spanish Colonial Painter in Louisiana”

Dr. Javier Morales, the Patrimonio Nacional of Spain“Art in the Spanish Court between 1746 and 1833: A Common

Heritage of Spain and the Nascent Republic of the United States”

January Symposium:pre-registration fee $25, student fee $10, until January 5

$30 fee at the door on January 20

The Historic New Orleans Collection will also sponsor a tour to Spainwhere the symposium will be repeated at the Universidad de Alcala deHenares on March 23, 2001. Dates for the tour: March 17-27, 2001.For more information about Symposium 2001, in New Orleans and in Spain, please call the Williams Research Center at 504-598-7171.

BOURBON LOUISIANA: REFLECTIONS OF THE SPANISH ENLIGHTEN-

Detail, Treaty of Friendship with the Indians, 1794 (MSS 309)