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Full text of "Catalogue of pictures including paintings, drawings and prints in the Public Archives of Canada ; with an introduction and notes"

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THE PUBLIC ARCHIVES OF CANADA 



CATALOGUE 
OF PICTURES 



LIBRARY 

UNIVERSITY OF PITTSBURGH 






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CATALOGUE OF PICTURES 
CATALOGUE DES GRAVURES 



Digitized by tine Internet Archive 

in 2009 witii funding from 

University of Pittsburgii Library System 



Iittp://www.arcliive.org/details/catalogueofpictu01publ 



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Louis XV 

fainting in oils by J. B. Van Loo 



CATALOGUE 
OF PICTURES 

Including 

PAINTINGS < DRAWINGS 
AND PRINTS 

in the 
PUBLIC ARCHIVES OF CANADA 

WITH AN INTRODUCTION AND NOTES 
By 

James F. Kenney, M.A., F.R. Hist. S. 

CHIEF OF 
EDITING AND RESEARCH DIVISION 

PART I. 



PUBLISHED BY AUTHORITY OF THE SECRETARY OF STATE 

UNDER THE DIRECTION OF THE KEEPER 

OF THE RECORDS 



OTTAWA 



THE MORTIMER COMPANY LIMITED 
OTTAWA 

1925 



CATALOGUE 
DES GRAVURES 

Comprenant 

LES TABLEAUX < DESSINS 
ET ESTAMPES 

Conservés aux 
ARCHIVES PUBLIQUES DU CANADA 

AVEC INTRODUCTION ET NOTES 
Par 

James F. Kenney, M. A., 

DE LA SOCIÉTÉ ROYALE D'HISTOIRE 

CHEF DE LA SECTION 
DE PUBLICATION ET DE RECHERCHE 

PREMIERE PARTIE 



PUBLIE SOUS L'AUTORITE DU SECRETAIRE D'ETAT 

ET LA DIRECTION DU CONSERVATEUR 

DES ARCHIVES 



OTTAWA 



THE MORTIMIÎR COMPANY LIMITED 

OTTAWA 

1925 



PREFACE 

EVERY student of Canadian history will feel a keen interest in 
the publication of a work the object of which is to describe the 
Canadian pictorial material assembled in one place which may 
be drawn upon for illustrative purposes. One chief difficulty 
in appreciating much of our earlier story is the difference in 
the appearance of the country then and now. We are so accustomed 
to Canada as we see it now, and as we move in it, that we are hardly 
conscious of the fact that what are to us to-day thriving cities and 
familiar scenes, formed, only a few years ago, part of a vast wilderness 
untrodden by the foot of the white man. It is here that illustrations 
associated with the beginnings and the advance of our civilization 
prove such valuable aids, since they permit one to obtain a connected 
and systematized view of our development. 

Twenty years is not a long space of time in which to make a pictorial 
collection, and that of the Public Archives is necessarily incomplete. 
It is, however, sufficiently extensive and representative to be of 
practical use to the literary workers of this country. 

The mere enumeration of the titles of the items in the collection 
would serve a useful purpose, but one may hope that these clear, 
scientific, and scholarly volumes will remain authoritative and 
respected. This is the first attempt that has been made to publish a 
scientific catalogue of Canadian prints, and, although it is confined to 
the items in the Public Archives of Canada, it will serve as a guide to 
future collectors. When I decided some years ago to publish a 
catalogue, I did not fully realize the amount of work it would involve. 
Watching its progress I was tempted to adopt some simpler form. But 
in its present form there can be no regret. It is a work of permanent 
value to a steadily increasing body of men and women who are de- 
termined to make known the history of this country and who will 
welcome the knowledge which its pages reveal. 

To Mr. Kenney my thanks are due for the zeal with which he has 
carried out the difficult task entrusted to him, and more especially for 
the excellent scholarship so plainly manifest in his work. 

A. G. Doughty. 
Ottawa, November, 25, 1925. 



PRÉFACE 

CEUX qui étudient l'histoire canadienne ne manqueront pas de 
vivement s'intéresser au présent ouvrage, car il a pour but de 
décrire la collection de tableaux et de portraits d'une 
institution où tout chercheur d'illustrations peut les utiliser. 
La différence d'aspect qui existe entre le Canada d'autrefois 
et le Canada d'aujourd'hui constitue l'un des principaux obstacles à la 
pleine intelligence de la période de début de notre histoire. Nous 
sommes tellement familiers avec le Canada que nous voyons et que 
nous parcourons, que nous nous rendons à peine compte du fait que 
les lieux où se trouvent aujourd'hui des villes prospères et des endroits 
connus formaient — il y a quelques années à peine — partie d'une im- 
mense et sauvage solitude que n'avait pas encore foulée le pied des 
blancs. On comprend mieux alors l'utilité des illustrations qui 
reconstituent les commencements et les diverses phases de notre 
civilisation: ces documents rendent possible une connaissance 
synthétique et ininterrompue de notre essor. 

Vingt années! Voilà un laps de temps peu considérable pour réunir 
une collection de tableaux et portraits. Aussi bien celle des archives 
publiques est nécessairement incomplète. Elle est cependant suffi- 
samment variée et représentative pour offrir des renseignements 
pratiques aux littérateurs du pays. 

La simple enumeration des titres des différents objets de cette 
collection rendrait déjà d'utiles services; il est toutefois permis 
d'espérer que cet ouvrage clair, méthodique et savant fasse autorité et 
qu'il suscite l'estime des connaisseurs. Il marque la première tentative 
de publier un catalogue scientifique de gravures canadiennes. Quoi- 
qu'il ne fasse mention que des objets déposés dans l'édifice des archives 
publiques du Canada, il pourra servir de modèle aux futurs col- 
lectionneurs. Il y a quelques années, quand je pris la résolution de 
publier un catalogue, je ne me rendis pas compte de la somme de 
travail que comportait un tel ouvrage; et lorsque je constatai les 
dimensions que prenait ce catalogue je faillis adopter une disposition 
plus simple. Toutefois le plan définitif de ce travail ne devrait susciter 
aucun regret. Ce livre constituera une source inépuisable de 
renseignements pour un nombre grandissant d'hommes et de femmes 
résolus à vulgariser l'histoire de leur pays et heureux d'accueillir avec 
bienveillance ce livre si plein de connaissances. 

M. Kenney mérite mes remerciements pour le zèle dont il a fait 
preuve en menant à bien la difficile entreprise que je lui avais confiée. 
Il convient surtout de le féliciter de la profonde érudition que son 
travail révèle. 

A. G. Doughty 
Ottawa, ce 25 novembre, 1925. 




ADMIRAL Saunders 
'Painting m 01/5 b}! R. Brompton 



INTRODUCTION 

THE Public Archives of Canada, in the terms of the Act 
under which they are administered, "consist of all such 
public records, documents and other historical material 
of every kind, nature and description as, under the pro- 
visions of this Act, or under the authority of any order in council made 
by virtue thereof, are placed under the care, custody and control 
of the Dominion Archivist."^ Provision is further made that the 
Dominion Archivist, who now bears the title of Keeper of the Records, 
"may acquire for the Public Archives all such original records, docu- 
ments and other material as he deems necessary or desirable to secure 
therefor, or he may acquire copies thereof, and all such originals or 
copies so acquired shall form part of the Public Archives." 

The Public Archives {i.e., the department of the Federal govern- 
ment service so designated) is, therefore, not only a depository for 
the older governmental records, but also a national department of 
history, where are preserved sources of every kind having value for the 
study of the history of Canada. 

Not least important among such historical sources available in the 
Public Archives is the collection of pictures. There are some 1500 
framed pictures on view in the department, and about 6,000 unframed 
separate pictures; if to these are added prints mounted in scrap-books, 
and book-illustrations possessing historical value, the whole collection 
will amount to more than 25,000 items. This does not include the 
very extensive collection of photographs, prints and posters relating 
to the Great War, which form part of the war museum. In character 
the pictures range from oil paintings, some of very great artistic as 
well as historical importance, through water-colour and wash drawings 
to pen-and-ink and pencil sketches, and from rare and beautiful 
engravings and etchings to modern photographs and photo-process 
prints of many varieties. In date they go back to Ramusio's view 
and plan of Hochelaga, first published in 1556 but here appearing 
in the edition of 1565. There are, of course, many earlier prints 
and drawings which are to be found in the collection in facsimile or 
other reproductions of later date. A considerable number of prints 
and a few paintings belong to the era of French rule, but the great 
bulk of the pictures are of the period since the surrender of Canada 
in 1760. 

The Public Archives office was created in 1872, but it was not until 
after the appointment of the present Keeper of the Records in 1904, 

»2 Geo. V. chap. 4. 



and, indeed, not until after the occupation, in 1906, of what is now the 
older wing of the Archives building, that the collection of historical 
pictures was begun. At that time the pictorial records in the Archives 
consisted only of the illustrations in the books in the library and of a 
a very small number of drawings and photographs mounted in port- 
folios in the same division. In 1906 the Minister in charge of the 
Archives Branch, as it then was, became convinced, partly as a result 
of the acquisition by private persons of a large number of very valuable 
Canadian historical pictures, that it was the duty of the government 
to obtain and preserve such documents. Consequently authorization 
was then for the first time given to the Dominion Archivist to 
expend money for the purchase of paintings, drawings and prints. 
As a result, the collection now in the department has been gathered 
between that date and the present. The great majority of the 
pictures have been obtained by purchase; a small number are 
copies made by agents of the department from originals preserved 
elsewhere; and a few — but among them some of the most valuable — 
are gifts made to the people of Canada through the Public Archives. 
Of the number of such generous benefactors of the nation are the 
Duke of Westminster, the Marchioness of Aberdeen and Temair, 
Earl Bathurst, the Earl of Durham, the late Earl of Minto and 
Lady Minto, the late Earl Grey, Viscount Rothermere, the late 
Viscountess Wolseley, Lord Lovat, Lord Beaverbrook, Sir Leicester 
Harmsworth, the late Sir James Stuart, the estate of the late 
Sir Richard Scott, the Hon. Charles Murphy, Mrs. Marslin, and 
many other persons whose names will be mentioned in the catalogue 
in association with the donated pictures. 

In subjects treated the collection has been built up on broad lines. 
The aim of the department has been to meet the legitimate needs 
of all bona fide investigators of Canadian history. 

In portraits the collection is particularly rich. Among original 
oil or water-colour portraits may be mentioned Van Loo's "Louis XV," 
Brompton's replica of his "Sir Charles Saunders," J. Green's "Hugh 
Debbieg," Théophile Hamel's "Sir James Stuart," D. J. Hurley's 
"Thomas D'Arcy McGee," A. D. Patterson's replica of his "Sir 
John A. Macdonald," Moss's "Dr. Kingsford," Wyly Grier's "Chief 
Justice Armour," Trityllis's "Lady Aberdeen," and an unsigned 
portrait of Douglas Brymner, first Dominion Archivist. There 
are several interesting French engraved portraits of the seven- 
teenth and eighteenth centuries, and many English of the 
seventeenth, eighteenth and nineteenth centuries. Modern Canadian 
portraits are very numerous, though it must be admitted that 



relatively few of these have high artistic merit. Of representations 
of historical events there are Copley's "Landing of Wolfe at 
Quebec," Benjamin West's " Death of Simon Fraser," Mrs. Hopkins' 
"Red River Expedition, 1870," Rutherford's "Surrender of Pound 
Maker," a collection of water colours representing the movement 
of Swiss colonists to the Red River in 1821, perhaps by Peter 
Rindisbacher, Sydney Hall's sketches made in the years 1878-81, 
modern interpretations of early history by Canadian artists such 
as Jefferys and Reid, besides many less notable drawings and prints. 
In the related field of cartoons are the famous "HB." series, many of 
Bengough's Canadian sketches, and others of interest. Noteworthy 
also is the large group of pictures relating to the aborigines — 'Indians 
and Eskimos — ^their personal appearance, customs and manner of 
living. Perhaps the most important division of the collection, how- 
ever, is that of views of places. Here are the very valuable sets or 
groups of views, in the original drawings or the printed reproductions, 
or both, by Hervey Smith, Short, Peachey, Hunter, Fisher, Webber, 
Parkyns, Heriot, Gray, Cockburn, Back, Coke Smyth, Bainbrigge, 
Murray, Sproule, Duncan, Warre, Lady Falkland, Mrs. Hall, Petley, 
Bartlett, Krieghoff, Kollner, Mrs. Bayfield, Paul Kane, Sir Edmund 
and Lady Head, Wakefield, Willis, Martindale, Baker, Holdstock, 
Sandys, L. M. Davis, Agnes Gardner King, to name only a few of the 
artists of our Canadian pictorial records. There are several individual 
landscapes of merit by contemporary Canadian, British and other 
painters. And, in such a summary sketch as this, hundreds of pictures 
must necessarily be passed over that are equally worthy of notice. 



By the time Canada came well into the current of recorded history, 
the principles of the arts of drawing and painting were established. 
Mural painting "a fresco," painting in oils on panel or canvas, the 
variety of tempera painting known as "gouache," and miniature paint- 
ing on ivory or parchment, to all of which occasional reference will be 
made in the following pages, had been very fully worked out on the 
technical side. The most notable development since has been that of 
pen-and-wash drawing and water-colour painting in the eighteenth 
and early nineteenth centuries. This form of art has an especial 
interest for the student of Canadian historical records. The ease with 
which the materials could be carried and used made water-colour 
painting the favorite method of the artist or would-be artist who 
found himself on the outskirts of civilisation. To it we owe the wealth 
of pictorial representations of Canadian scenery in the second half of 
the eighteenth and first half of the nineteenth century that has been 



left to us by travellers, military officers, civil officials and an occasional 
settler in this then remote frontier of empire. In general, those in the 
collection have more value as topographical records than as works of 
art, but some, as, notably, several of the paintings of George Heriot, 
of J. Cockburn and of Henry J, Warre, are very pleasing. In 
water-colour portraiture, however, there is a remarkable example of 
finished work in Green's portrait of Hugh Debbieg. 

In the days before the development of photography, training in 
accurate topographical sketching was a necessary part of the education 
of military and naval officers, of civil engineers, and of almost all 
persons engaged in works of applied science. These men were able to 
produce drawings that, as topographical and architectural records, 
rivalled, and sometimes, in wealth and exactness of detail, surpassed 
photographs. Of such a character are the works of Richard Short, 
of Hervey Smith, of James Peachey, of J. Hunter, of G. J. Parkyns, 
of A. J. Russell, some of those of George Heriot, and many other 
pen-and-ink, pencil, and water-colour drawings. 

The development of photography has, of course, wrought a revol- 
ution during the last seventy-five years in the methods of taking field 
records of scenery. It has also wrought a revolution in the production 
of printed copies of pictures. 

The reader who is interested in the methods and history of picture- 
printing should consult some of the many special treatises on the 
subject. But it seems well to give here, as an aid to the use of the 
following catalogue, a sketch of these methods, a sketch which will be 
quite summary and without any pretense to conclusive authority. 

Picture-prints, or "prints," as they are commonly designated, fall, 
according to form of publication, into two chief classes, those that are 
published separately and those that appear as illustrations to books 
or periodicals. Although there is frequently but little distinction in 
character between these two classes, it is obvious that, in general, the 
separate print must possess a certain intrinsic distinction, usually 
artistic, while the important qualities of the book-illustration are 
clearness, cheapness, and the capability of being reproduced in large 
numbers without serious deterioration. From the historian's point of 
view the illustration is as important as the separate print. 

Another distinction by which prints may be divided into two cate- 
gories is whether they are primary works of art, the original production 
of the man who prepares the plate, whose whole object has been the 
printed picture, or, as generally, are copies made by the engraver 




Fort (^hipewyan 

Water-colour b^^ Sir George Bac}{ 



from the painting or drawing of another artist. On older prints the 
names of both artist and engraver usually appear; sometimes there 
are three names, those of the painter of the picture, of the draughts- 
man who copied it in a line drawing more suitable for reproduction, 
and of the engraver who made the plate. In many cases the artist 
has prepared the picture with the immediate purpose of having it 
reproduced and has worked in such close co-operation with the 
engraver that the resulting print really belongs to the first of the 
above-mentioned categories. 

In the early days of picture-printing the term "proofs" was applied 
to impressions of the plate taken by the engraver to test the character 
of his work. It now usually designates the first prints taken from a 
plate, which are frequently made on special paper and sold at an 
advanced price. 

The earliest form of picture-printing having practical importance 
was that by means of wood-engravings, or ^'woodcuts.'' In Europe 
this began early in the fifteenth century, and, in its first phase, was 
brought to its highest standard by the great German artist, Albrecht 
Diirer (1471-1528). During the sixteenth century the art flourished, 
and was used extensively for book-illustration ; during the seventeenth 
and eighteenth it declined, although continuing in use for the poorer 
kinds of illustration. In wood-engraving the design to be reproduced 
is cut on the face of the wood-block "in relief," that is to say, the 
parts of the surface that are to carry the ink are left untouched, while 
those that are to print white are cut away. A method of printing 
pictures in several shades, designated as "in chiaroscuro,'" was devel- 
oped by Ugo da Carpi (1455 P-1523 ?), Lucas Cranach (1472-1553) 
and others, by using several wood-blocks and several shades of ink for 
each print, each block having all of its surface cut away except the 
portions which would register one of the shades of the picture. In 
later times this device was adapted to the production of colour-prints. 

In contrast to wood-cutting, all engraving on metal plates is of the 
type called intaglio, in which the design to be reproduced is incised 
into the surface. After having been inked, the plate is wiped; the 
plain surface then prints white, while the ink that has remained in the 
markings is transferred to the paper. In order to obtain satisfactory 
results heavy pressure must be used in the application of the plate 
to the paper ; it follows that the use of a metal plate is usually indicated 
by the indentation which its edges leave on the paper margins 
of the print. In some qualities of paper, however, this quickly 
disappears. 

Copper has been, except for a few decades in the nineteenth century, 



the usual material of plates engraved in intaglio. Copper plates for 
prints were used in the fifteenth century, not long after the date of the 
earliest woodcuts. The work was of the type known as line-engraving, 
in which the characteristic element is the line scratched by a pointed 
instrument, the burin, on the surface of the metal. As a matter of 
fact, line-engravers have almost always, except in the very beginning 
of the art, made use of acid to a greater or less degree to produce the 
cutting of the metal, but the plate is known as a line-engraving so 
long as the dominating characteristic of its appearance is that of the 
line scratched with the burin. From the beginning of the sixteenth 
to the middle of the nineteenth century line-engraving was probably 
the most important form of print production, though the excellence of 
the work varied from age to age. The "outline engraving" which 
was popular in France for a short time about the year 1800 is only a 
variety of line-engraving. 

Etching, that form of engraving in which the incision on the plate 
is produced entirely, or chiefly, by the application of acid, has the 
following fundamental process: the plate is covered with a thin layer 
of "ground," consisting of a mixture of waxes, gums, resins, and some- 
times tallow; the design is drawn through the ground with a needle, 
or by other means ; and the acid is then applied, corroding the exposed 
portions of the metal. The method of engraving known as dry-point 
is usually classed with etching: it consists in scratching the design 
directly on the metal surface with a needle resembling the etching 
needle, but much harder and stronger. It is obvious that the process 
is essentially that of line-engraving, but the appearance of the print is 
quite distinct from that resulting from the work of the burin. 

The production of prints from etchings began at the end of the 
fifteenth or the beginning of the sixteenth century, and the art reached 
its acme in the hands of Rembrandt in the seventeenth. Thereafter 
there was a decline until the nineteenth century, when a revival took 
place. In contrast to line-engraving, etching is still practised some- 
what extensively, but almost solely because of its artistic appeal. 

The demand of the publishers for illustrations for the books which 
they were turning out in such large numbers in the sixteenth century 
gave its first great impetus to the development of engraving. Books 
that have a peculiar interest to the American historian are the geo- 
graphical works of the time, such as the publications of Ortelius, 
Mercator, H'ondius and the De Brys, for which engraving was used 
extensively on both maps and illustrations. There was also a con- 
temporary growth in the public demand for separate printed pictures, 



a demand which produced the profession of print-seller. The early 
print-sellers were frequently also engravers and printers. Such were 
Hieronymus Cock of Antwerp, the Galle family of Antwerp, the Sadeler 
family of Brussels and Antwerp, the Wierix brothers of Antwerp, 
and the Van de Passe family of Utrecht, which had establishments 
from time to time in Germany, France, England and Denmark. To 
the same class belonged, in Paris, the prolific engraver Balthasar 
Moncornet. 

The popular demand for pictures, and the desire of the painters to 
reach a wider audience, resulted, in the seventeenth century, in a 
remarkable development of reproductive engraving, the use of engrav- 
ing to multiply copies of paintings. Raphael had gathered a group 
of engravers around him to reproduce his work, but it was Rubens 
and Van Dyck to whom this development was chiefly due. Hence- 
forth, so long as engraving remained commercially profitable, the bulk 
of the best work was of this kind. Portraits were especially popular 
subjects. Rembrandt and Van Dyck had shown the wonderful 
possibilities of etching as a method of portraiture, but the most im- 
portant work in the reproduction of portrait paintings, prior to the 
development of tone processes, was done by the French line-engravers 
of the seventeenth century, of whom the most famous was Nanteuil. 

Reproductive engraving called for some means by which the tone of 
paintings could be reproduced more directly than by manipulation of 
the line. The first important method — after that of the chiaroscuro 
wood-blocks — was mezzotint, invented by Ludwig von Siegen, a 
native of Utrecht, about 1642, and introduced into England by 
Prince Rupert. The shades in mezzotint are printed from a metal 
surface that has been roughened. The earliest plates were prepared 
by the actual roughening of the parts that were to print dark, but the 
method was very soon reversed, and the regular mezzotint process 
consists in first producing a roughness or "burr" over the whole plate 
and then working out the design by burnishing, to a greater or less 
degree, those parts that are to print light. Mezzotint was found very 
suitable for portrait work. It flourished for about two centuries, 
chiefly in England, and, like etching, is still practised for its artistic 
value. 

The next important tone-process was known as the "chalk" 
or "crayon," manner, invented in France about the middle of the 
eighteenth century as an imitation of crayon drawing. It is really 
a form of etching, in which the printing surface is produced by dots 
instead of lines, and sometimes can be distinguished only with difficult>' 



from "soft-ground etching," another development of the eighteenth 
century. Stipple engraving, invented in the second half of the cen- 
tury, is very similar in method and results, but is designed to imitate 
the painted surface rather than the crayon strokes. In this catalogue 
prints in either the crayon manner or stipple will generally be found 
classified as "stipple" engravings. Stipple, like mezzotint, was 
practised chiefly in England, where the height of its popularity was in 
the period from about 1772 to about 1810, and its most famous 
exponent was the Italian engraver, Francesco Bartolozzi. 

Aquativt, the next noteworthy tone-process, made its appearance, 
as a regular method of picture production, in France within the decade 
1760-1770, although — as is also the case with stipple — a few stray 
examples exist from a much earlier date. In aquatinting the plate is 
covered with a porous ground of sand or powdered resin, attached 
temporarily to the surface by heating, and then etched. The suc- 
cessive shades, as in all etching, are produced by "stopping out" with 
varnish — between each immersion in the acid — those portions of the 
plate that have been sufficiently bitten. Aquatint was especially 
well suited for the reproduction of water-colour pictures, and it has 
peculiar interest to the Canadian student because of the many early 
landscapes of our country that have been so reproduced. Aquatint- 
ing continued in commercial use to about 1830, when it was largely 
superseded by lithography. 

Frequently, in practice, the different methods were combined, and 
the one plate may contain work in two or more of the different pro- 
cesses — line, stipple, mezzotint, aquatint. 

Colour-prints, that is, prints in which inks of different colours have 
been used, were occasionally published at earlier dates, but came into 
prominence only in the eighteenth century. From about 1770 to 
about 1815 they were exceedingly popular. They were usually printed 
from mezzotint, stipple or aquatint plates: sometimes one plate was 
used, being inked or painted by hand after each impression; some- 
times a separate plate for each colour, used in the manner of the 
chiaroscuro wood-blocks. Occasionally one colour was superimposed 
on another in an attempt to get a wide variety of tones from a few 
cardinal colours. 

Colour-prints must not be confused with "coloured" prints. It 
has been a common practice to colour by hand prints of all kinds, but 
especially aquatints and mezzotints. Some very beautiful contempor- 
arily coloured examples exist of early Canadian aquatint views. 



In the nineteenth century certain important developments in en- 
graving accompanied a great expansion in the numbers of illustrated 
books and periodicals. One of these was the revival of wood-engraving, 
a revival which in its inception was largely due to the genius of the 
English engraver, Thomas Bewick (1753-1828). Wood-cutters devel- 
oped, especially in America, extraordinary speed and dexterity, and 
woodcuts were used in vast numbers for illustrated newspapers and 
magazines. They were made still more serviceable by the invention, 
about 1860, of a method by which several blocks could be joined 
together in one picture. Hitherto the size of a wood-engraving had 
been limited by the size of a cross-cut of boxwood, which averaged 
about lOJ/2 inches in diameter. But soon after 1880 the commercial 
use of woodcuts was brought to an end by the development of "pro- 
cess" prints. 

Another development of the early nineteenth century was the sub- 
stitution of steel plates for copper, to some extent for etchings, stipples 
and mezzotints, but especially for line-engtavings. Copper plates 
quickly deteriorated in use, while hundreds, and even thousands of 
impressions could be taken from steel plates before the design became 
too much worn. The use of mechanical aids, and the development of a 
technical skill among the engravers paralleling that of the wood- 
cutters, produced, in the period from 1820, when steel began to be 
substituted for copper, to about 1860, an immense output of steel 
engravings. . 

The first picture-printing process distinct from engraving was 
lithography, invented about 1796 by Alois Senef elder of Munich. 
In lithography the printing is done from the surface of a stone (or of 
some kinds of metal plates) that has an affinity for both the mutually 
repellent substances, grease and water. The design is either drawn 
directly on the stone with a greasy crayon or greasy ink, or transferred 
from paper on which it has been so drawn. In printing, the stone 
surface is damped and inked before each impression, the water ad- 
hering only to the clean parts, the ink only to those portions that have 
absorbed the grease of the design. A later development has been the 
application of an acid mixture, which increases the affinity of the 
untouched surface, and the resistance of the greased parts, to water, 
and, indeed, causes the design to stand up in slight relief. Lithography 
was used extensively, especially in France, in the second and third 
quarters of the nineteenth century. It was found very suitable for 
colour-printing, with a separate stone for each colour, and, more 
particularly between 1855 and 1875, many fine examples of colour-, 
or chromo-lithographs, were produced. 



In the eighteenth and early nineteenth centuries Paris and London 
were the great centres of print pubHshing, and of these London was 
the more important for subjects of Canadian interest. Some of the 
notable publishers and dealers were Thomas Jefïerys (d. 1771), whose 
interest in America at the time of the Seven Years War has given us 
many important maps and prints, Carrington Bowles, John Boydell 
(1719-1804), Rudolph Ackermann (1764-1843), C. J. Hullmandel 
(1789-1850), William Day and Louis Haghe, and Vincent Brooks, 
all of London; and, in the Paris of the first half of the nineteenth 
century, F. S. Delpech, R. J. Lemercier, and Adolphe Goupil. Towards 
the middle of the century many Canadian pictures were published in 
New York. A small amount of print production was beginning in 
Canada itself: this was chiefly in Montreal, although the earliest seem 
to have been issued in Halifax about 1816. 

Since about 1885 the majority of picture prints, especially repro- 
ductions, have been produced by some form of photographic process, 
commonly called "process". These methods resemble those of the 
older engravers and lithographers, but the essential part of the work 
is done by means of photography. In general the basis is the fact that 
a mixture of bichromate of potash with gelatin, albumen or similar 
substances is rendered hard and insoluble by light. When such a 
composition is exposed to light through a photographic plate — positive 
or negative, direct or reversed, according to the particular method 
used — a surface is created which in hardness and softness corresponds 
exactly with the transparence and density of the photographic plate. 

The various methods fall into three classes: 

(1) Planographic Processes, in which the printing is done from a 
plane, or nearly plane, surface, as in lithography. In collotype or 
phototype, of which heliotype is only a variation, the gelatinous plate 
itself is used for printing, after the same manner as the litho- 
graphic stone: the soft parts take the water, the hard parts the ink. 
The term photo-lithography is given sometimes to the method in 
which the photographic negative is applied either to a sensitized 
metal plate or to a stone covered with an albuminous film, but also 
to that in which the design is printed on paper by photography and 
then transferred to the stone. 

(2) Relief Processes, in which a surface in relief is produced to 
receive the ink, as in woodcut printing. In line- printing the 
albumen is used to cover zinc or copper; after the exposure, the soft 
albumen is washed away, while the hardened parts remain, repro- 
ducing the lines of the original picture. The plate is then etched 



with acid, the parts covered by hard albumen being protected, and the 
result is a relief plate. The half-tone followed the line print, as 
mezzotint and stipple had followed line-engraving, and with the same 
object, that of reproducing the tones of pictures. For half-tone 
reproduction a picture is photographed through a "screen," which is 
really a glass covered with a net- work of fine lines. When the resulting 
negative and the albumen are properly used, an etched plate is 
obtained covered with minute dots corresponding in density to the 
tones of the original picture. Half-tone has been found fairly satis- 
factory for colour printing, especially by the "three-colour process," 
in which three plates are made for the three primary colours, and the 
tones obtained by superimposition, as in some of the colour-prints 
of the eighteenth century. The modern method is much more suc- 
cessful because the photographs for the three plates, taken with colour 
filters, give a more acurate analysis of the colours of pictures 
than was possible to the human eye. 

(3) Intaglio Processes, in which the printing is done from ink 
retained in incisions on the plate, as in all the older engravings on metal. 
The chief of these processes is photogravure, in which the face of 
the copper first receives a covering of dust, as in aquatinting. The 
dust remains after the gelatin is washed, and in the etching produces 
a fine grain over the whole exposed surface. Photogravure is the best 
of all photographic processes for reproducing tones, but does not 
give colours. 

In order to prolong the life of a plate several methods are in use. 
One is to put a thin facing of steel, by means of electrolysis, on the 
finished copper plate, a practice which is applied also to hand-engraved 
plates; another, to use the original plate only for making moulds, in 
which the printing plates are cast by electrolysis. 

The classification of prints prepared by photographic process is 
somewhat difficult, partly because of the many names that have at 
different times been applied to the same method, and partly because 
of the many modifications, some of them trade secrets, which have 
been introduced, affecting the appearance of the finished print. 

In the following catalogue prints are classified, so far as has been 
possible, as of the technical character that the appearance of each 
suggests. 



Of the value of the pictorial record for historical purposes there is 
now a general high appreciation. We live in an age when the pictorial 



presentation of fact or fiction has had an extraordinary revival and 
development. In the field of history this new interest shows itself 
in the use of exhibits, of lantern-slides, and even of moving pictures. 
The collection in the Public Archives is being drawn on more and more 
by scholars for material both for the illustrations in their books and 
for the lantern-slides that supplement their lectures. The teachers of 
Ottawa and its vicinity have brought their pupils by hundreds every 
year to see the display of paintings, drawings, prints and maps on the 
walls of the Public Archives, and their testimony as to the help thereby 
given to their teaching of Canadian history is significant. The little 
boy who did not understand how the Battle of the Plains of Abraham 
could have been fought on top of a rock on which stood the city of 
Quebec had his difficulty solved when he saw the landscapes of 
eighteenth-century Quebec and its environs. And the more subtle 
impediments to the pupil's appreciation of the vital and human 
character of the subject-matter of history are most readily removed 
by his becoming familiar with po'-trait, historical painting, or tahleau- 
de-moeurs. For the more advanced investigator the pictures provide 
both that indefinite but important element sometimes designated 
atmosphere, and also innumerable minutiae of fact, interesting 
and occasionally very valuable, which escape the written description. 

In its pictorial as in its other records the Department of Public 
Archives performs a duty towards the future equally with the present. 

"Men write on the earth in time their legend, 
Then into earth's bosom sink to rest, 
And after ages decipher slowly 
The mingled scroll like a palimpsest." 

That the scroll of our time may be fuller and clearer for the future 
historian than that of the past has been for us is one of the principal 
aims of Canadian archival labours. The department preserves 
contemporary portraits, contemporary landscapes, contemporary 
views of important events, with the same care as those of the past. 
Though neither the interest nor the utility of many of these may now 
be great, every year that passes gives an added value to the genuine 
record. 



Some statements of a personal character should be added. 

The compiler is responsible for the form and content of the fol- 
lowing catalogue. His work has been made possible, however, by the 
great assistance he has received from all other divisions of the 
Department of Public Archives, both in the central office in Ottawa 
and in the various offices located elsewhere. To the officers of all these 



he wishes to express his thanks: in particular to Dr. H. P. Biggar, 
Chief Archivist of Canada in Europe, who facilitated the work of 
obtaining information from the hbraries and other sources in Europe, 
read the proof, and made many valuable suggestions that have been 
incorporated into the text. He is also indebted to many persons out- 
side the department for valuable help, and regrets that he must here 
confine his acknowledgments to but a few: Mr. J. de L. Taché, 
General Librarian of Parliament, Ottawa; Mr. H. O. McCurry, 
Secretary of the National Gallery of Canada, Ottawa; Mr. E. R. Greig, 
Secretary of the Art Gallery of Toronto; Mr. P. G. Roy, Archivist 
of the Province of Quebec; Mr. ^Egidius Fauteux, Librarian of the 
Bibliothèque St. Sulpice, Montreal; Professor A. S. Morton, of the 
University of Saskatchewan, Saskatoon; Professor D. McArthur, 
of Queen's University, Kingston; Mr. Victor H. Paltsits, Chief of the 
American History Division and Keeper of Manuscripts, New York 
Public Library; Dr. J. C. Webster, Shediac, New Brunswick; 
Mr. G. Vanier, Paris, France. 

The name of a man to whom very special obligations are due is 
omitted at his personal request. 

Miss Jeanne Chenier and Mr. Norman Fee, of the Department of 
Public Archives, have been directly associated with the compiler in 
much of the work of cataloguing the pictures; Miss Chenier has 
also performed the very intricate task of typing the text for the 
printers, and Mr. Fee has read the proof. The care and courtesy 
that have been shown by the printers, and particularly by 
Mr. H. Ussher, in the execution of a difficult and tedious 
undertaking, should receive special acknowledgment. 

J. F. K. 




^HE Death of Wolfe 

Etching 



INTROT>UCTION 

SELON les termes de l'acte qui les régit, les Archives publiques 
du Canada "sont composées de tels actes, documents publics 
et autres matériaux historiques de toute sorte, nature ou 
description qui, subordonnément aux dispositions de la pré- 
sente loi, ou sous l'autorité de tout arrêté du Conseil passé sous son 
empire, sont placés sous la surveillance, la garde et le contrôle de 
l'Archiviste fédéral. Cet acte renferme une autre mesure autorisant 
l'archiviste du Canada — il porte maintenant le titre de conservateur 
des archives — à "acquérir pour les Archives publiques tous actes 
originaux, documents, et autres matériaux qu'il juge nécessaire et 
désirable de se procurer dans ce but; il peut en acquérir des copies, 
et tous cesdits actes originaux ou copies ainsi acquis font partie des 
Archives publiques." 

Les Archives publiques, c'est à dire la section des services admi- 
nistratifs du gouvernement fédéral ainsi désignée, ne comprennent pas 
seulement le lieu où sont déposés les vieux documents du gouverne- 
ment; elles constituent également, pour la nation entière, une branche 
de l'histoire où sont conservés des renseignements de tous genres 
utiles à ceux qui étudient l'histoire du Canada. 

Parmi cette documentation historique que renferment les archives 
publiques, on ne saurait passer sous silence la collection de tableaux 
et d'estampes. Il y a environ 1500 gravures encadrées, qui sont ex- 
hibées dans ce département, et à peu près 6000 gravures distinctes et 
non-encadrées ; si, à cette galerie, on ajoute des estampes insérées 
dans des albums et des illustrations d'une valeur historique, la col- 
lection complète comprend plus de 25000 objets. De plus, il y a 
une série considérable de photographies, de feuilles imprimées et 
d'afifîches qui se rapportent à la grande guerre et constituent une partie 
des objets déposés dans le musée de la guerre. Cette collection offre 
une variété d'illustrations depuis les peintures à l'huile — les unes d'une 
grande valeur artistique et historique — jusqu'aux esquisses au crayon 
et aux esquisses à la plume, sans oublier les aquarelles et les dessins au 
lavis; elle présente également une série d'objets d'art depuis de magni- 
fiques gravures rares ainsi que des eaux-fortes jusqu'aux photographies 
modernes et aux photogravures de différentes espèces. Du point 
de vue chronologique, cette collection commence avec la vue et le 
plan d'Hochelaga, gravure publiée d'abord en 1556 dans les Viaggi 
de Ramusio, mais que l'on trouve dans l'édition de 1565. La 
collection renferme naturellement plusieurs estampes et dessins 
plus anciens que reproduisent des facsimiles ou d'autres copies d'une 
époque subséquente. Bon nombre de gravures et quelques peintures 
ont trait au régime français, mais l'immense majorité des illustrations 
se rapportent à la période qui suivit la reddition du Canada en 1 760. 



C'est en 1872 que fut établi le service des archives publiques. Toute- 
fois on ne commença pas à coUiger les gravures historiques avant la 
nomination du conservateur actuel des archives, en 1904, ou plutôt 
quelque temps après l'occupation, en 1906, de ce qui constitue aujour- 
d'hui l'ancienne aile de l'édifice des archives. Alors la collection 
des gravures des archives ne comprenait que des illustrations dans 
les livres de la bibliothèque ainsi que quelques dessins et quelques 
photographies insérés dans des albums et conservés dans cette 
bibliothèque. En 1906, le ministre, qui administrait la branche des 
archives — c'est ainsi qu'on appelait alors cette institution — se con- 
vainquit, après avoir constaté notamment que certains particuliers 
avaient acquis une grande quantité de gravures et de tableaux très 
précieux se rapportant à l'histoire du Canada, que c'était le devoir 
du gouvernement de se procurer et de conserver de tels documents. 
En conséquence, on autorisa, pour la première fois, l'archiviste 
fédéral à acheter des peintures, des dessins et des estampes. Et 
c'est ainsi que depuis cette date, on a recueilli la collection qui se 
trouve aujourd'hui dans ce département. On a acheté la grande 
majorité des estampes et des tableaux; des agents du département 
ont fait une copie de quelques originaux déposés ailleurs; des dona- 
teurs présentèrent au Canada, par l'intermédiaire des archives, 
des tableaux au nombre desquels figurent quelques-uns des plus 
précieux objets de la collection. Voici les noms de quelques-uns de 
ces bienfaiteurs de la nation: le duc de Westminster, la marquise 
d'Aberdeen et de Temair, le comte Bathurst, le comte de Durham, 
le feu comte de Minto et Lady Minto, le feu comte Grey, le vicomte 
Rothermere, la feue vicomtesse Wolseley, Lord Lovât, Lord Beaver- 
brook. Sir Leicester Harmsworth,le feu Sir James Stuart, la succession 
du feu Sir Richard Scott, l'Hon. Charles Murphy, Mrs. Marslin, et 
beaucoup d'autres personnes dont les noms seront mentionnés dans le 
catalogue lorsqu'il sera question de leurs dons. 

La collection comprend une grande variété d'objets; le départe- 
ment a voulu renseigner tous les chercheurs de bonne foi qui s'occupent 
de l'histoire du Canada. 

La collection est riche en portraits notamment. Parmi les portraits 
originaux à l'huile et les aquarelles, il convient de mentionner le 
"Louis XIV," de Van Loo; la copie que Brompton fit de son "Sir 
Charles Saunders;" "Hugh Debbieg," de J. Green; "Sir James 
Stuart," de Théophile Hamel; "Thomas D'Arcy McGee," de D. J. 
Hurley; la copie que A. D. Patterson fit de son "Sir John A. 
Macdonald;" le "Dr. Kingsford," de Moss; "Chief Justice Armour," 



de Wyly Grier; "Lady Aberdeen," de Trityllis; et un portrait, 
sans signature, de Douglas Brymner, le premier archiviste fédéral. 
Il y a aussi plusieurs intéressants portraits français gravés du XVI I^ 
et du XVI 11^ siècles, et de nombreux portraits anglais des XVI F, 
XVI IF et XIX^ siècles. On trouve aussi de nombreux portraits 
canadiens de l'époque actuelle; toutefois il faut admettre qu'il y en 
a très peu d'une haute valeur artistique. Comme représentations 
d'événements historiques, la collection offre "Landing of Wolfe at 
Quebec," de Copley; "Death of Simon Fraser," de Benjamin West; 
"Red River Expedition, 1870," de Mrs. Hopkins; "Surrender of 
Pound Maker," de Rutherford; une série d'aquarelles, dont l'auteur 
est peut-être Peter Rindisbacher, représentant quelques phases du 
voyage des colons suisses se dirigeant vers la rivière Rouge, en 1821; 
les esquisses que fît Sydney Hall de 1878 à 1881; des peintures de 
scènes historiques des premiers temps de la colonie, œuvres d'artistes 
canadiens de l'époque actuelle, comme Jefferys et Reid; beaucoup 
d'autres dessins et gravures moins remarquables. Comme caricatures, 
la collection offre les fameuses séries "H. B.", plusieurs esquisses 
canadiennes de Bengough et d'autres caricatures intéressantes. Ce 
qui est aussi digne d'attention, c'est la série considérable d'illustrations 
se rapportant aux aborigènes — les Sauvages et les Esquimaux — 
à leur apparence individuelle, à leurs costumes et à leur mode d'ex- 
istence. La section la plus importante de la collection est peut être 
celle qui comprend les tableaux représentant certains endroits. C'est 
ici que l'on peut admirer les très précieuses séries de vues, dessins 
originaux ou copies imprimées, dont les auteurs sont : Hervey Smith, 
Short, Peachey, Hunter, Fisher, Webber, Parkyns, Heriot, Gray, 
Cockburn, Back, Coke Smyth, Bainbrigge, Murray, Sproule, Duncan, 
Warre, Lady Falkland, Mrs. Hall, Petley, Bartlett, Krieghoff, Kollner, 
Mrs. Bayfield, Paul Kane, Sir Edmund et Lady Head, Wakefield, 
Willis, Martindale, Baker, Holdstock, Sandys, L. M. Davis, Agnes 
Gardner King: voilà les noms de quelques-uns seulement de nos 
peintres de tableaux historiques. On y trouve également plusieurs 
paysages remarquables, œuvres de peintres contemporains canadiens, 
anglais ou autres. Et dans un résumé comme celui-ci, il faut néces- 
sairement omettre de mentionner des centaines de gravures également 
dignes d'attention. 

Au moment ou l'histoire du Canada commençait à s'enrichir de 
documents, les principes du dessin et de la peinture étaient universel- 
lement admis. On avait pleinement développé la technique des 
peintures à fresque, et des peintures à l'huile sur bois ou sur toile. Il 
en était ainsi des tableaux connus sous le nom de "gouaches," et des 



miniatures sur ivoire ou parchemin. Dans les pages subséquentes, 
il est quelquefois question de ces différentes expressions. Les genres 
qui se développèrent au XVIII* et au commencement du XIX* siè- 
cle furent le dessin au lavis et l'aquarelle; ils offrent un intérêt 
particulier à ceux qui étudient les documents de l'histoire du Canada. 
Comme les fournitures des aquarellistes étaient très maniables et 
très portatives, l'aquarelle devint le genre favori des artistes véri- 
tables ou des artistes en herbe qui se trouvaient sur les confins de 
la civilisation. Et c'est ainsi que nous possédons de nombreuses 
représentations de paysages canadiens, datant de la deuxième moitié 
du XVI II* siècle et de la première moitié du XIX* siècle, que 
nous ont laissées des voyageurs, des officiers civils et militaires et 
même des colons établis sur ces territoires, alors frontières éloignées de 
l'empire. D'une manière générale, les aquarelles que renferme cette 
collection ont une valeur topographique plutôt qu'artistique; toute- 
fois il y en a quelques-unes de George Heriot, de J. Cockburn et de 
Henry J. Warre notamment, que l'on aime à regarder. Comme 
portrait peint à l'aquarelle, le portrait de Hugh Debbieg, par Green, 
offre un bel exemple d'un travail achevé. 

Avant les progrès de la photographie, la science de décrire un lieu 
avec précision et de le représenter graphiquement sur le papier était 
une matière quil fallait enseigner aux officiers militaires, aux officiers 
de la marine, aux ingénieurs civils et à presque toutes les personnes 
qui s'occupaient de travaux se rapportant aux sciences appliquées. 
Ces personnes purent ainsi faire des dessins qui, en leur qualité de 
documents topographiques et architecturaux, offrent autant d'intérêt 
que les photographies; quelquefois même, ils présentent plus de 
détails et de précisions que les photographies elles-mêmes. Telles 
sont bien les caractéristiques des œuvres de Richard Short, de Hervey 
Smith, de James Peachey, de J. Hunter, de G. J. Parkyns, de A. J. 
Russell, de même que certains dessins de George Heriot et plusieurs 
autres dessins à la plume, des dessins au crayon et des aquarelles. 

Les progrès de la photographie, cela va sans dire, ont opéré, pendant 
les dernières soixante-quinze années, une révolution dans la manière 
de représenter graphiquement un lieu sur du papier. Ils ont égale- 
ment transformé les procédés employés pour l'impression des images. 

Le lecteur qui s'intéresse à l'histoire et à la technique de l'imagerie 
devrait consulter quelques-uns des nombreux ouvrages spéciaux sur ce 
sujet. Maix, afin de guider ceux qui se serviront du catalogue qui 
suit cette introduction, il nous a semblé qu'il convenait de donner, 
de cette technique, un résumé tout à fait succinct sans prétendre 
vider la question. 




Fort Garry 
Water-colour by H. J. War re 



Du point de vue de la publication, on peut diviser en deux catégories 
les estampes: celles qu'on publie séparément, et celles qui sont 
intercalées dans le texte d'un livre ou d'une revue. Il y a souvent 
très peu de différence spécifique entre les estampes de l'une et l'autre 
classe; mais d'une façon générale, il faut admettre que la gravure 
distincte possède une certaine valeur intrinsèque, habituellement 
d'ordre artistique. D'autre part, les qualités importantes des illustra- 
tions que renferment les livres sont : la précision des détails, un prix de 
revient peu élevé, et la possibilité de servir à de nombreuses repro- 
ductions sans subir une sérieuse détérioration. L'historien attache 
"une égale importance à l'illustration et à l'estampe distincte. 

On divise ces estampes en deux autres catégories: 1^ les œuvres 
artistiques originales sortant des mains de celui qui prépare la planche 
et dont l'unique objectif est l'illustration imprimée; 2^ les repro- 
ductions, faites par un graveur, de peintures ou de dessins d'un autre 
artiste. Sur les anciennes gravures, on peut lire ordinairement les 
noms de l'auteur et du graveur; quelquefois elles portent même trois 
noms: le nom de celui qui a fait la peinture; le nom du dessinateur 
qui modifia les lignes de l'image afin d'en tirer plus facilement des 
reproductions; le nom du graveur qui fit la planche. En plusieurs 
circonstances, l'artiste fît son tableau avec l'intention d'en tirer des 
copies ; il travailla alors en une si intime collaboration avec le graveur 
que la gravure finale appartient véritablement à la première catégorie 
précitée. 

Lorsque l'art de la gravure était au berceau, le mot "épreuve" 
signifiait les impressions que prenait le graveur pour connaître le degré 
de perfection de son travail. De nos jours, on emploie ordinairement 
ce mot pour désigner les premières feuilles tirées sur une planche 
gravée; elles sont faites d'un papier spécial et se vendent plus cher 
que les copies subséquentes. 

La première espèce de gravure d'une importance pratique fut la 
gravure sur bois (woodcuts). Son origine en Europe remonte au 
commencement du XV^ siècle; tout d'abord ce genre atteint son 
apogée avec le grand artiste allemand, Albrecht Durer (1471-1528). 
Le XVI® siècle vit la floraison de ces gravures qui servirent à illustrer 
de nombreux livres; le XVI P et le XVIII* siècle marquèrent le 
déclin de ce genre qui continua toutefois à fournir des illustrations de 
deuxième ordre. Dans la gravure sur bois, le dessin qui doit être 
reproduit est taillé "en relief" sur une des faces de la planche: on 
ne touche pas aux parties de la surface qui recevront l'encre, mais 
on sculpte celles qui laisseront un espace blanc sur le papier. Ugo 



da Carpi (1455 ?-1523 ?), Lucas Cranach (1472-1553), et d'autres person- 
nes développèrent une méthode d'imprimer des gravures de diffé- 
rentes teintes; c'est ce qu'on appelle graver en clair-obscur ("in 
chiaroscuro.") On obtenait ce résultat en employant plusieurs 
planches et différentes teintes d'encre pour chaque gravure; on 
taillait la surface entière de chaque planche sauf les parties qui com- 
muniqueraient à la feuille une des teintes de la gravure. Plus tard, 
on employa ce procédé pour fabriquer des estampes coloriées. 

La gravure sur métaux genre de gravure en creux ("intaglio") 
dispose de procédés diamétralement opposés à ceux de la gravure 
sur bois; on taille, sur la surface de la planche, le dessin qui doit 
être reproduit. Après avoir répandu de l'encre sur la planche, on essuie 
cette surface; elle ne fait donc aucune impression, tandis que l'encre 
qui demeure dans les incisions se communique au papier. Pour 
obtenir de bons résultats on doit soumettre la planche à une forte 
pression lorsqu'elle touche au papier; comme conséquence, on peut 
généralement savoir si l'imprimeur a eu recours à une planche métal- 
lique en constatant les indentations que les bords de cette plaque lais- 
sent sur la marge de la feuille. Toutefois ces indentations disparais- 
sent facilement lorsqu'on se sert d'un papier d'une qualité spéciale. 

Hormis quelques années du XIX^ siècle, on se servit ordinairement 
du cuivre pour l'intaille. Peu de temps après l'apparition des gravures 
sur bois, on employa, au XV^ siècle, des planches de cuivre pour la 
fabrication des gravures. Elles étaient caractérisées par ce qu'on 
a appelé la "gravure au trait" (line-engraving) c'est à dire une ligne 
qu'un instrument à pointe, comme le burin, forme sur la surface du 
métal. De fait, les graveurs au trait ont toujours utilisé, sauf à la 
naissance de cet art, une quantité variable d'acide pour faire des 
incisions dans le métal; mais si cette planche présente, comme 
caractéristique, la ligne que trace le burin, on dit alors qu'elle est 
gravée au trait. Depuis le commencement du XVP siècle, la gravure 
au trait constitua probablement le genre qui produisit le plus grand 
nombre d'estampes quoique l'excellence de l'exécution variât avec 
le temps. La gravure au physionotrace (outline engraving) popu- 
laire en France, vers 1800, n'est qu'un genre de gravure au trait. 

La gravure à l'eau-forte (etching) est l'art de faire des incisions 
sur la planche en employant principalement — sinon exclusivement — 
un acide. En voici la technique essentielle. On enduit la planche 
d'une mince couche d'une substance composée d'un mélange de cire, 
de gomme, de résine et quelquefois de suif; on trace le dessin à 
travers cette substance au moyen d'une aiguille ou de tout autre 



objet; on jette ensuite l'acide sur la planche et il mord les parties 
exposées du métal. Une autre manière de graver analogue à la tech- 
nique de la gravure à l'eau-forte est la gravure à la pointe sèche 
(dry-point) ; elle consiste à reproduire le dessin sur le cuivre nu au 
moyen d'une pointe aiguë semblable à la pointe employée pour la 
gravure à l'eau-forte, mais beaucoup plus résistante et plus dure. 
Les procédés de la gravure à la pointe sèche ne diffèrent pas essentiel- 
lement des procédés de la gravure au trait, mais les résultats de ces 
deux opérations présentent deux aspects bien différents. Les gravures 
•à l'eau-forte datent de la fin du XV^ siècle ou du commencement du 
XVI® siècle. Cet art atteint son apogée au XVI® siècle avec Rem- 
brandt. Il passe ensuite par une période de déclin, jusqu'au XIX® 
siècle où il connut une régénération. S'il n'y a plus guère de graveurs 
au trait aujourd'hui, il existe encore d'assez nombreux graveurs à 
l'eau-forte qui s'occupent de cet art pour des motifs d'ordre 
esthétique. 

Ce qui contribua puissamment à développer tout d'abord l'art 
de la gravure, ce furent les éditeurs qui demandèrent des illustrations 
pour les livres qu'ils publièrent en si grand nombre au XVI*' siècle. 
Les livres qui intéressent particulièrement l'historien américain sont 
les ouvrages géographiques de l'époque: les publications d'Ortelius, 
de Mercatoi, d'Hondius et des De Bry où sont insérées de nombreuses 
cartes et des illustrations gravées. 

En même temps le public réclama un plus grand nombre de gravures 
distinctes; il en résulta une nouvelle profession: le marchand 
d'estampes. Assez souvent les premiers marchands d'estampes furent 
simultanément graveurs et imprimeurs, comme Hieronymus Cock 
d'Anvers; la famille des Galle, du même endroit; la famille des 
Sadeler de Bruxelles et d'Anvers; les frères Wierix d'Anvers; la 
famille des Van de Passe d'Utrecht, qui avaient des maisons 
temporaires en Allemagne, en France, en Angleterre et au Danemark; 
Balthasar Moncornet, de Paris, l'auteur d'un si grand nombre de 
gravures. 

Au XVII® siècle, le public réclamait des illustrations, et les peintres 
désiraient augmenter le nombre de leurs admirateurs; il en résulta 
un progrès remarquable de l'art de reproduire des tableaux par le 
moyen de la gravure. Raphael réunit quelques graveurs afin d'avoir 
des copies de ses peintures, mais ce furent surtout Rubens et Van Dyck 
qui contribuèrent à développer ce genre. Aussi longtemps que les 
gravures rapportèrent quelque avantage pécuniaire, la plupart des 
meilleures gravures furent des copies d'œuvres d'art. Les portraits 
notamment jouissaient d'une grande vogue. Rembrandt et Van 



Dyck avaient montré le merveilleux parti qu'on pouvait tirer de 
l'eau-forte dans la fabrication des portraits. Toutefois ce furent les 
graveurs au burin de la France de XVII® siècle, Nanteuil entre autres, 
qui, avant les progrès de la gravure en teintes, firent les plus belles 
copies de portraits peints. 

La reproduction de tableaux par la gravure suscita des recherches 
pour trouver une manière de reproduire les teintes avec plus de pré- 
cision que par l'emploi des lignes. A la gravure en clair-obscur, 
succéda la gravure en manière noire (mezzotint), une nouvelle 
méthode de graver qu'inventa, vers 1642, Ludwig Von Siegen, natif 
d'Utrecht, et que le prince Rupert introduisit en Angleterre. Les 
teintes dans une gravure en manière noire sont imprimées au moyen 
d'un cuivre grené. On prépara les premières plaques en grenant les 
parties qui devaient laisser des ombres sur la feuille, mais on adopta 
bientôt la méthode inverse qui consiste à grener tout le cuivre et à 
polir ensuite dans une mesure proportionnelle à l'intensité du blanc 
qu'on veut obtenir. Les graveurs constatèrent que l'on pouvait 
employer cette méthode avec succès pour la portraiture. Elle fut 
en grande faveur pendant deux siècles, en Angleterre notamment; 
comme la gravure à l'eau-forte, on l'emploie encore pour des motifs 
d'ordre artistique. 

Un autre genre important de gravure en teintes fut la gravure en 
manière de crayon ("chalk," or "crayon," manner), inventée en France 
vers le milieu de XVI 11^ siècle; c'était une imitation du dessin au 
crayon. C'est véritablement un genre de gravure à l'eau-forte; au 
lieu de tailler des lignes sur la surface de la planche, on couvre cette 
surface de points noirs; souvent il y a une différence à peine percep- 
tible entre ce genre de gravure et la gravure au vernis mou, une autre 
innovation du XVIII* siècle. La gravure au pointillé (stipple) 
genre inventé dans la deuxième moitié du XVIII® siècle, comporte 
une technique et produit des résultats analogues à la gravure en ma- 
nière de crayon ; toutefois elle a pour objet, non pas la copie des 
crayons pastels, mais plutôt l'imitation de tableaux. Dans ce 
catalogue, la rubrique "gravures au pointillé" comprend les gravures 
en manière de crayon et au pointillé. Ce dernier genre, de même que 
la gravure en manière noire, furent employés, en Angleterre notam- 
ment, et atteignirent leur apogée à partir de 1772 jusqu'à 1810; le 
graveur italien, Francesco Bartolozzi, est le plus illustre représentant 
de cette école. 

Entre les années 1760-1770, les graveurs français adoptèrent 
définitivement, comme méthode de produire des estampes, la gravure 
à l'aquatinte, (aquatint), autre genre remarquable de gravure en 



teinte; on pourrait toutefois trouver, ici et là, des gravures à 
l'aquatinte et au pointillé qui datent d'une période beaucoup plus 
reculée. Voici les principales opérations propres à la gravure à 
l'aquatinte. On enduit la planche de sable fin ou de résine pulvérisée 
qui adhère temporairement à la surface métallique lorsque celle-ci 
est chauffée. On plonge ensuite le cuivre dans un bain d'eau-forte. 
Comme dans tous les autres systèmes de gravure à l 'eau-forte, on 
obtient une variété de teintes en protégeant par le vernis — entre 
chaque bain d'eau-forte — les parties de la planche qui présentent des 
morsures suffisantes. L'aquatinte convenait tout spécialement à la 
reproduction d'aquarelles; elle intéresse tout particulièrement l'ama- 
teur canadien, car elle servit à reproduire de nombreux paysages du 
Canada primitif. L'aquatinte eut une valeur commerciale jusqu'à 
l'année 1830, ou à peu près; la lithographie devint alors le genre en 
vogue. 

Très souvent les graveurs combinèrent ces différentes méthodes 
et produisirent une seule planche après avoir eu recours à la technique 
de deux genres ou plus: gravure au trait, au pointillé, en manière 
noire, à l'aquatinte. 

La gravure en couleur, (colour-printing), c'est à dire la gravure à 
la préparation de laquelle des encres de différentes couleurs ont con- 
couru, fit sa première apparition avant le XVI IP siècle; mais c'est 
pendant ce siècle qu'elle connut la célébrité. Elle fut très populaire 
depuis 1770 jusqu'à 1815. Elle était ordinairement tirée sur des 
planches gravées en manière noire, au pointillé ou à l'aquatinte. 
Quelquefois on se servait d'une planche que l'on enduisait d'encre 
ou que l'on coloriait à la main après chaque impression; quelquefois 
on employait une planche distincte pour chaque couleur, procédé 
analogue à celui dont on se servait pour graver en clair-obscur. On 
avait quelquefois recours à la superposition des couleurs en vue d'ob- 
tenir des gammes de couleurs élémentaires. 

On ne doit pas confondre les gravures en couleur avec les gravures 
coloriées. Pendant longtemps on a colorié à la main des gravures de 
tout genre, et notamment des aquatintes et des mezzo- tin to. II 
existe de très belles aquatintes du Canada primitif coloriées par des 
contemporains. 

Au XIX^ siècle l'augmentation du nombre de livres illustrés et 
de revues fut suivie d'innovations importantes de la gravure. Entre 
autre choses, il y eut une renaissance de la gravure sur bois; l'art 
consommé d'un graveur anglais, Thomas Bewick (1753-1828), 
en fut la cause principale. En Amérique notamment, les graveurs sur 



bois acquirent une dextérité et une remarquable célérité d'exécution, 
et les gravures sur bois illustrèrent de nombreux journaux et des revues. 
Ce genre se développa davantage grâce à une nouvelle méthode in- 
ventée vers 1860; elle consiste à juxtaposer plusieurs planches en 
vue de former une seule image. Jusqu'à cette date, la superficie 
d'une gravure sur bois ne pouvait dépasser la superficie d'un morceau 
de bois, coupé en travers et mesurant environ dix pouces et demi de 
diamètre. Mais peu de temps après 1880, les procédés photogra- 
phiques produisirent des estampes qui remplacèrent, comme valeur 
commerciale, les gravures sur bois. 

Une autre innovation du début du XIX^ siècle fut de substituer, 
dans une certaine mesure, des plaques d'acier aux plaques de cuivre, 
à la gravure à l'eau-forte, au pointillé, au mezzo-tinto et notamment 
à la gravure au burin. Les plaques de cuivre se détérioraient faci- 
lement lorsqu'on s'en servait, mais des plaques d'acier, on pouvait 
tirer des centaines et des milliers de gravures sans trop altérer le dessin 
original. L'emploi de procédés de mécanique et l'habileté technique 
que les graveurs sur acier acquéraient — progrès analogue à celui des 
graveurs sur bois — furent la cause d'une immense production de 
gravures sur acier depuis le moment où l'acier se substitua au cuivre, 
en 1820, jusqu'à 1860 ou à peu près. 

Le premier genre d'impression d'images, distinct de la gravure, 
fut la lithographie (lithography), qu'inventa, en 1796, Alois 
Senefelder de Munich. Grâce à cette invention, l'impression se 
produisit au moyen de la surface d'une pierre (ou de plaques 
métalliques spéciales) ayant une affinité avec deux substances 
qui d'ordinaire ne se mélangent pas: l'eau et la graisse. On trace 
directement un dessin sur la surface d'une pierre lithographique au 
moyen d'un crayon gras ou d'une encre grasse; on peut aussi tracer 
ce dessin sur une feuille que l'on applique ensuite sur la pierre. 
Lorsqu'il s'agit d'imprimer ce dessin, on répand de l'eau et de l'encre 
sur la surface de la pierre avant chaque impression; les parties 
non marquées retiennent l'eau, tandis que celles qui ont absorbé 
la graisse retiennent l'encre. On développa cette méthode en enduisant 
la surface de la pierre d'un mélange d'acides qui augmente l'afifinité 
des parties non marquées avec l'eau et la répulsion entre les parties 
grasses et l'eau; le dessin devient même gravé quelque peu en relief. 
La lithographie connut une vogue considérable, en France principa- 
lement depuis 1825 jusqu'à 1875. On constata qu'elle pouvait rendre 
de grands services à la chromo-lithographie lorsqu'on employait une 
pierre distincte pour chaque couleur; on produisit, entre 1855 et 
1875 notamment, de magnifiques dessins en couleurs. 



Au XVIII® siècle et au commencement du XIX^, Paris et Londres 
devinrent les deux grands centres de production d'estampes; cette 
dernière ville était plus riche que Paris en gravures ayant trait au 
Canada. Voici quelques-uns des importants imprimeurs et marchands 
de gravures: Thomas Jefferys, mort en 1771; l'intérêt qu'il portait 
pour l'Amérique au moment de la guerre de Sept-Ans l'incita à produire 
d'importantes cartes géographiques et des gravures; Carrington 
Bowles; John Boydell (1719-1804); Rudolph Ackermann (1764- 
1843); C. J. Hullmandel (1789-1850); William Day et Louis 
Haghe; Vincent Brooks: tous ces individus vécurent à Londres. 
Voici les noms de quelques imprimeurs parisiens et marchands de 
gravures de la première moitié du XIX^ siècle: F. S. Delpech, 
R. J. Lemercier et Arthur Goupil. Vers le milieu du même siècle, 
on imprima à New York plusieurs estampes canadiennes. Au même 
moment, cette industrie s'implantait au Canada, et tout particulière- 
ment à Montréal, quoique la première gravure semble avoir été faite 
à Halifax, vers 1816. 

Depuis 1885, ou à peu près, ce sont des procédés photographiques 
(photographie processes), qui ont fourni la majorité des estampes 
et des reproductions. Ces méthodes ressemblent à celles des anciens 
graveurs et des lithographes d'autrefois, mais c'est la photographie 
qui accomplit le travail essentiel. En voici les principales opérations: 
un mélange de bichromate de potasse avec de la gélatine, de l'albumine 
ou des substances analogues, se durcit par la lumière et devient in- 
soluble dans l'eau. Lorsque, au moyen d'une plaque photographique 
— et selon qu'on emploie la méthode positive ou négative, directe ou 
renversée — on expose ce mélange à la lumière, on obtient une surface 
dure ou molle qui correspond exactement à la transparence ou à 
l'opacité de la plaque photographique. 

Voici les trois méthodes générales des photograveurs: 

1 — Les procédés à base de surface plane ou presque plane servant 
à l'impression; la lithographie emploie un procédé analogue. La 
collotypie, (collotype) ou phototypie, ( phototype ) — l'hélio- 
typie, (heliotype), ne constitue qu'un genre de collotypie est un 
procédé ayant pour base un cliché en gélatine dont on se sert pour 
l'mpression à la manière des lithographes: les parties molles retien- 
nent l'eau: les parties dures, l'encre. Le mot photolithographie, 
(photo-lithography), désigne quelquefois le procédé suivant: on 
pose un négatif photographique sur une plaque métallique sensibilisée 
ou une pierre lithographique enduite d'une pellicule collodionnée. 
On se sert également de ce mot pour désigner cet autre procédé: sur 



une feuille de papier, on photographie le dessin que l'on communique 
ensuite à la pierre lithographique. 

(2) — Les procédés ayant pour base une planche en relief qui reçoit 
l'encre selon le procédé de la gravure sur bois. Pour l'impression 
des dessins exécutés en traits (line-printing), on emploie de 
l'abumine pour enduire les p'aques de cuivre ou de zinc. Lorsque 
ces planches ont été exposées à l'action de la lumière, l'eau enlève 
les parties molles de l'albumine tandis que les parties dures adhèrent 
à la plaque et reproduisent les lignes du dessin original. On plonge 
ensuite la plaque dans un bain d'acide; comme les parties recouvertes 
d'albumine durcie résistent à l'action de l'acide, la plaque finit par 
présenter des caractères en relief. De même que la gravure en 
manière noire et la gravure au pointillé succédèrent à la gravure au 
burin, l'impression de dessins exécutés en traits fut suivie de la 
photocollographie (half-tone printing), qui eut également pour 
objet la reproduction des teintes des illustrations. Pour obtenir ce 
résultat, on prend la photographie d'une image en interposant entre 
celle-ci et l'objectif une plaque de verre recouverte d'un réseau de 
lignes minuscules. Quand l'épreuve négative qui en résulte reçoit 
la quantité nécessaire d'albumine on obtient une plaque gravée à 
l'eau-forte et couverte de petits points dont la densité varie selon les 
traits de l'image originale. Cette méthode appliquée à la chromo- 
typie a produit d'assez satisfaisants résultats, surtout lorsqu'on l'a 
employée pour le "procédé relatif aux trois couleurs:" on photo- 
graphie successivement chacune des trois couleurs élémentaires et on 
les imprime superposées sur une même feuille de papier; on obtient 
ainsi des teintes, procédé analogue à celui des graveurs en couleur du 
XVIII® siècle. La méthode moderne produit des résultats beaucoup 
plus satisfaisants parce que les trois épreuves différentes, prises par 
l'intermédiaire de verres qui ne laissent passer que les rayons de leur 
coloration propre, présentent une analyse des couleurs des images 
avec une précision qui surpasse celle de l'œil humain. 

(3) — Les procédés ayant pour base les tailles; l'impression se fait 
au moyen d'une encre qui demeure dans des incisions de la plaque, 
procédé analogue à celui des anciens graveurs sur métal. Le plus 
important de ces genres est la photogravure: on jette d'abord une 
poudre sur la surface du cuivre, à la manière des graveurs à l'aquatinte. 
Cette poudre adhère au cuivre tandis que l'eau enlève la gélatine. 
Après avoir plongé dans un bain d'eau-forte, cette plaque couverte de 
poudre, elle présente une surface grenée dans toutes les parties exposées 
à l'action de l'acide. La photogravure est le meilleur procédé pour 
reproduire les teintes; elle est toutefois incapable de rendre les 
couleurs. 




Louis XIV sends the 'Brides 

TO (Canada 

Water-colour hy C. W. Jejferys 



On emploie plusieurs procédés pour prolonger la durée d'une plaque. 
Par l'électrolyse, on applique une couche légère d'acier sur la plaque 
de cuivre munie de tous ses caractères; on se sert également de ce 
procédé pour les plaques gravées à la main. Voici une autre méthode 
adoptée: on ne se sert des plaques originales que pour faire des 
moules dans lesquels on dépose, par le moyen de l'électrolyse, les 
plaques qui doivent servir à l'impression. 

Il est quelque peu difficile de classifier les gravures produites par des 
.procédés photographiques: on a souvent donné des noms différents 
au même procédé; d'autre part, on a souvent modifié quelque peu 
ces procédés, et l'on changeait ainsi l'apparence d'une estampe 
lorsqu'elle était terminée. Quelques-unes de ces modifications con- 
stituaient des secrets de métier. 

Dans le catalogue qui suit, on a, autant que possible, classifié les 
estampes d'après les caractères techniques que chacune suggère à 
ceux qui les étudient. 



De nos jours, on fait grand cas des illustrations documentaires. 
Nous vivons à une époque que caractérisent la renaissance et la 
diffusion extraordinaire des images employées pour illustrer l'exposé 
des faits ou des fictions. En ce qui concerne l'histoire, l'exposition de 
gravures, l'emploi de plaques de lanterne magique et l'usage du cinéma 
même manifestent ce nouvel intérêt. Les savants consultent de plus 
en plus la collection des Archives publiques; elle leur fournit des 
matériaux pour illustrer leurs livres et agrémenter leurs con- 
férences par des projections. Chaque année, les instituteurs 
d'Ottawa et des environs conduisent aux Archives des centaines 
d'élèves pour leur montrer l'exposition des peintures, des dessins, des 
gravures et des cartes qu'on peut voir en cet endroit; les témoignages 
de ces maîtres, attestant l'utilité de cette exposition pour l'enseigne- 
ment de l'histoire du Canada, sont des indices révélateurs. L'enfant 
qui ne comprenait pas comment on avait pu livrer la bataille des 
plaines d'Abraham sur le sommet d'un rocher servant de fondement à 
la ville de Québec, voit sa difficulté disparaître quand il regarde un 
tableau représentant l'étendue de pays autour de la ville de Québec 
et de ses environs, au XVIII* siècle. Et lorsque l'élève prend con- 
naissance des portraits, des peintures historiques ou des "tableaux 
de mœurs" des époques antérieures, il peut résoudre immédiatement 
des objections plus spécieuses qui l'empêchaient d'apprécier à leur 
juste valeur les éléments vitaux et humains qui constituent la matière 
de l'histoire. Aux chercheurs plus férus de connaissances, la collection 
des Archives permet de connaître un élément vague mais important 



dans l'étude de l'histoire: l'atmosphère historique; elle leur fournit 
également l'occasion de noter d'innombrables détails se rapportant 
à des faits, questions intéressantes et souvent très utiles qu'on ne sau- 
rait trouver dans les livres. 

En compilant les gravures et les autres pièces historiques, le ministère 
des Archives publiques rend service aux générations présentes et 
futures. Le poète anglais a écrit: 

"Men write on the earth in time their legend 
Then into earth's bosom sink to rest, 
And after ages decipher slowly 

The mingled scroll like a palimpsest." 

L'un des principaux objectifs de l'archiviste canadien et de ses 
adjoints, c'est de faire en sorte que les documents contemporains 
offrent à l'historien de demain plus de précisions que l'historien 
d'aujourd'hui n'en trouve dans les documents des époques antérieures. 
Le ministère conserve, avec le même soin que s'il s'agissait de gravures 
anciennes, les portraits et les paysages contemporains de même que 
les illustrations d'événements importants de l'époque actuelle. 
Plusieurs de ces objets d'art ne sont peut être pas d'une grande utilité 
et d'un grand intérêt aujourd'hui, mais avec le temps, ils acquièrent 
une valeur documentaire. 



Il n'est pas hors de propos d'ajouter quelques explications d'un 
ordre moins général. 

C'est le compilateur qui a été chargé de la rédaction et de la dis- 
position du catalogue qui suit. Toutefois l'aide qu'il reçut de toutes 
les branches du ministère des Archives publiques, soit dans le bureau- 
chef à Ottawa, soit dans les autres bureaux situés ailleurs, lui a permis 
d'achever ce travail. L'auteur désire remercier ces fonctionnaires et 
notamment le Dr H. P. Biggar, archiviste en chef du Canada, en 
Europe, qui facilita la tâche de l'auteur en obtenant des renseigne- 
ments dans les bibliothèques et en consultant d'autres sources en 
Europe; il corrigea aussi les épreuves de ce livre et fit de nombreuses 
suggestions qui furent intercalées dans le texte. Le compilateur a 
aussi acquis une dette de reconnaissance envers plusieurs personnes 
qui ne sont pas membres du personnel des Archives et qui lui ont 
prêté leur précieuse collaboration. L'auteur regrette de ne pouvoir 
mentionner que les noms suivants: M. J. de L. Taché, Bibliothécaire 
général du parlement à Ottawa: M. H. O. McCurry, secrétaire de la 
galerie nationale de tableaux du Canada, à Ottawa; M. E. R. Greig, 
secrétaire de la galerie des arts, à Toronto; M. P. G. Roy, archiviste 
de la province de Québec; M. ^gidius Fauteux, bibliothécaire de la 



bibliothèque St. Sulpice, à Montréal; M. le professeur A. S. Morton 
de l'université de Saskatchewan, à Saskatoon; M, le professeur 
D. McArthur de l'université Queens à Kingston; M. Victor H. 
Paltsits, chef de la division de l'histoire américaine et conservateur 
des manuscrits, à la bibliothèque publique de New- York; le Dr J. C, 
Webster, à Shediac, Nouveau-Brunswick; M. G. Vanier, à Paris, 
France. 

Il a été nécessaire d'omettre le nom d'un homme à qui l'auteur a de 
grandes obligations, et qui a lui-même demandé que son nom ne fût 
pas mentionné. 

Mademoiselle Jeanne Chénier, du ministère des Archives publiques, 
catalogua bon nombre d'estampes, en collaboration avec le com- 
pilateur; elle a accompli la tâche vraiment ardue de dactylographier 
le texte pour l'imprimeur. M. Norman Fee, du même ministère, 
catalogua aussi quelques estampes et corrigea les épreuves. Il con- 
vient de souligner le soin et la courtoisie des imprimeurs et de mention- 
ner le nom de M. H. Ussher; grâce à leurs concours, l'auteur put 
mener à bien une entreprise difficile et fastidieuse. 

J. F. K. 




Arrival of the î3rides 
AT Quebec 

Water-colour t)\ C. W. Jejferys 



PART I ' Ire PARTIE 

PORTRAITS 

I 



XXXUl 



EXPLANATORY NOTE TO PORTRAIT CATALOGUE 

THE names of the persons whose portraits are in the collection are arranged in 
chronological order, according to the respective dates of death. A brief bio- 
graphical sketch is given, indicating, if it seems advisable, the association of the 
subject with Canadian history. The catalogue is confined to portraits of persons 
having some "Canadian" interest, but a catholic interpretation has been given to 
this restriction. It may be noted that, beginning with 1492 A.D., all sovereigns of 
the British Isles, all persons through whom the crown of the United Kingdom has 
been inherited, all sovereigns and heads of the state in France, all the Presidents of 
■ the United States of America, and all the Popes, whose portraits are in the collection, 
have been included in the catalogue, even though, individually, some of them may 
have had no connection with Canada. The catalogue, however, is not designed to 
serve the purpose of a biographical dictionary, and, while reasonable care has been 
taken to ensure that these brief "lives" are trustworthy, they have received no special 
original investigation. 

The portraits of each personage are arranged, generally, according to their dates, 
or the dates of the original paintings on which the pictures here noticed are based, 
so far as these dates are known. Occasionally this rule has been departed from for 
special reasons, and frequently the information necessary for its strict observance 
has not been available. Last in order are pictures of statues, medallions, and other 
graphic models. 

The title and descriptive matter attached to each picture has been printed with 
indented margin. It is made up of the following parts: 

(1) The reference number, placed in the indented margin. 

(2) The title. In the case of prints, and of such drawings and paintings as have a 
written title imitating print, the title has been reproduced as exactly as typographical 
and space considerations will permit. The different sizes of type in the title as given 
by the catalogue do not represent exactly, but only relatively, those of the original 
title. Because of the fact that script type cannot be used in a limited space, it has 
been necessary to represent script by Cheltenham Light Italic. Dark face, shaded 
and outline types are represented by dark face, usually Caslon Bold. 

(3) Description of subject-matter of picture. The terms "r. hand" and "1. hand" 
indicate the right and left hands of the subject as he appears in the picture. But the 
terms "to r.," "to 1.," indicate direction with reference to the spectator. The fol- 
lowing abbreviations are used: H.L. = half-length ; T.Q.L. =three-quarters-length, 
W.L. = whole-length. 

(4) Technical description and bibliographical information. In the Introduction 
some explanation is given of the various technical terms used. In this respect it 
has not been the aim to attain absolute and meticulous accuracy, but only to provide 
such a brief and trustworthy description as will be sufficient for practical purposes 
of identification or estimation of value. Dimensions are in inches, the perpendicular 
first, the horizontal second. The dimensions are those of the actual surface of the 
printed picture, not of the plate impression. In the case of prints which are not 
confined within a fixed line, the dimensions indicate approximately the space covered 
by the print. For the book-illustrations bibliographical references are given to those 
books which are to be found in the Archives library ; but if the illustration is repro- 
duced in many different books only those are mentioned which seem most important 
or most useful. 

After the title and description of the picture, a note is sometimes attached giving 
its history, an estimation of its importance, or, more frequently, brief biographical 
sketches of the artist and the engraver. 



NOTE EXPLICATIVE JOINTE AU CATALOGUE 
DES PORTRAITS 

I ES noms des personnes, dont les portraits figurent dans la collection, sont 
- disposés dans l'ordre chronologique, selon la date du décès de chaque personne. 
^ On a rédigé une brève notice biographique de ces personnages; on a indiqué, 
quand on a jugé la chose nécessaire, les traits d'union entre ces personnages et 
l'histoire du Canada. Dans ce catalogue, on ne mentionne que les portraits de 
personnes qui intéressent les Canadiens, mais on doit donner un sens large à cette 
restriction. Il convient d'observer que l'on trouvera dans le catalogue le nom des 
portraits de tous les rois de la Grande-Bretagne, de toutes les personnes qui ont 
transmis la couronne du Royaume-Uni, de tous les rois et de tous les présidents de 
la France, de tous les présidents des Etats-Unis d'Amérique, et de tous les papes, 
depuis l'année 1492 A.D.; toutefois plusieurs d'entre eux n'ont eu, comme individus, 
rien à voir au Canada. Cependant ce catalogue ne prétend pas être un dictionnaire 
biographique; on s'est efforcé de présenter de brèves notices sans faire des recherches 
spéciales, aux sources mêmes. 

Les portraits de chaque personnage sont généralement disposés selon leur date 
ou selon la date connue des peintures originales d'après lesquelles on a fait les copies 
ici mentionnées. Quelquefois l'auteur s'est écarté de cette règle, lorsqu'il avait 
des raisons spéciales d'agir ainsi; assez souvent, il n'a pu se procurer let 
renseignements nécessaires pour se conformer à cette règle. Après l'énumératior. 
des portraits, on trouve les titres des photographies des statues, des médailles et de 
quelques autres objets d'art graphique. 

Le titre et les notes descriptives de chaque image, imprimés avec une marge spéciale 
renferment les renseignements suivants: 

(1) Le chiffre imprimé dans la marge spéciale et indiquant le renvoi. 

(2) Le titre. Quant aux estampes, et lorsque les dessins et les peintures ont des 
titres qui semblent imprimés, on a reproduit ces caractères avec autant d'exactitude 
que possible en tenant compte des exigences typographiques et de l'espace dont on 
pouvait disposer. Les différentes dimensions de caractères employés pour les titres 
que l'on trouve dans le catalogue ne sont que la copie approximative des titres 
originaux. Comme on ne peut imprimer l'écriture anglaise (script type) dans un 
petit espace, il fallut représenter cette écriture par les italiques, genre "Cheltenham 
Light." Le genre "Caslon Bold" représente ordinairement les caractères gras, 
ombragés ou ouverts. 

(3) Description du sujet de la gravure. Les expression "r. hand," côté droit, 
"1. hand," côté gauche, indiquent le côté droit et le côté gauche du sujet tel qu'il 
apparaît dans l'illustration. Mais les termes "to r.," à droite, et "to 1." à gauche, 
indiquent la direction qui se rapporte au spectateur. On se sert fréquemment des 
termes et des abréviations suivantes: "Head"= Tête; "Bust" = Buste; "H.L." 
(Half-length) = Portrait peint à mi-corps; "T.Q.L." (Three-quarters-length) 
= un trois-quarts; "W.L." (Whole-length) — Portrait en pied; full face = portrait 
de face; seated = assis. 

(4) Description technique et renseignements bibliographiques. Dans l'intro- 
duction, on explique certains termes techniques employés dans ce livre. A ce sujet 
l'auteur ne s'est pas proposé d'arriver à une précision absolue et méticuleuse, mais 
plutôt de présenter une description succincte et exempte d'erreurs qui, dans la 
pratique, suffise à ceux qui font des recherches d'identification ou qui veulent 
connaître la valeur de certaines gravures. Les dimensions sont données en pouces; 
on mentionne d'abord la perpendiculaire puis la ligne horizontale. Par dimensions, 
nous entendons la longueur et la largeur de la surface véritable de l'estampe et non 
pas la longueur et la largeur de la plaque impressionnée. Au sujet des estampes non 
délimitées, leur superficie est approximativement indiquée par des dimensions 
données. En ce qui concerne les illustrations insérées dans les livres, le lecteur trou- 
vera à leur sujet des renvois aux ouvrages qui sont dans la bibliothèque des Archives. 
Mais si ces illustrations sont reproduites dans plusieurs livres différents, il n'est 
fait mention que de ceux qui semblent les plus importants ou les plus utiles. 

Au titre et à la description, on a quelquefois joint une note qui résume l'histoire 
et marque l'importance de la gravure; plus souvent, on donne une brève notice 
biographique de l'artiste et du graveur. 



SECTION I ' Ire SECTION 

1000 - 1700 

A.D. 



-«^^v 



„"rw9'^rv% 




Viscount Northcliffe 
'Painting in oils b)i P. A. de Laszlô 



LEIF ERICSSON 

Fl. c. 1000 

From the tenth to the fifteenth centuries Norse settlements existed 
on the south-west coast of Greenland. There are traditions of voy- 
ages made to lands more remote, which are believed to have 
been parts of the continent of America. One of these lands, Vinland, 
or Wineland, was discovered, according to Norse sources, by Leif, 
son of that Eric the Red who had founded the Greenland colony. 
The Icelandic Sagas say that Leif, apparently in 999, sailed from Green- 
land to Norway, and that, when returning in the following year, he 
.was driven out of his course and came upon Vinland. 

1 FROM A PHOTOGRAPH. FRONTISPIECE CANADIAN MAGAZINE. 

I BOSTON'S TRIBUTE TO LEIF ERICSSON. | 

Designed by Miss Whitney, and Erected in 1887 to Commemorate the 
Discovery \ of the Continent of America by the Northmen in the year 
1000 A. D. 

Statue. W. L. : with pedestal. 

Half-tone print : 6x4. PI. to The Canadian Magazine, vol. X (1897). 

Anne Whitney (1821-1915), a native of Watertown, Massachusetts, began work as a 
professional sculptor in 1860. The statue of Leif Ericsson, an imaginary repre- 
sentation, is among her best works. 

MARCO POLO 

1254 — 1324 ? 

A Venetian who travelled extensively in China and other parts of 
Asia about 1271 to 1295. His Book, dictated in 1298-9, was the 
greatest contribution made in the Middle Ages to European knowl- 
edge of the geography of the far East, and had an important influence 
on the early discoverers and explorers of America. 

2 MARCO POLO 

Bust : slightly to 1. 

Clipping. Half-tone print : 3}^ x 2%. 

None of the extant portraits of Marco Polo is known to be authentic. 

JEAN DE BÊTHENCOURT 

C. 1360 — 1422 

Jean de Béthencourt was one of the earliest of those Norman adven- 
turers who did so much to extend French maritime power. He set 
out, in 1402, to conquer the Canary Islands, which had been discovered, 
or rediscovered, by Europeans early in the fourteenth century. He 
and his companion, Gadifer de La Salle, occupied several of the 
islands. In 1406 he returned to Normandy. The French retained 



a precarious hold in the Canaries for some years longer, when they 
finally passed to the dominion of Spain. 

3 HIST. DE FRANCE. 1 1 BETHENCOURT. I 

B Moncornet fecit London dirext. 

H. L. : to r. ; in armour. 

Etching: 2 «/n x 2; with frame, 3«/« x 2V4- P'- to Galerie historique des 

hommes les plus célibres, by C. P. Landon, vol. IV (Paris : 1805). 

Balthazar Moncornet (c. 1630-1670) was a Parisian engraver and printseller who 
produced a vast number of engraved portraits. Charles Paul Landon (1760-1826) 
was a French historical painter of some merit, but is better known as a writer 
on art. 

4 Rouargue frères del. et se. | Sft'^àïl tt PétfjemOUrt, | Roi 

des Canaries. 

W. L. : to r. ; in armour, with sword. Coat of arms and supports, 

coloured, in upper margin. 

Line engr. : 6x4. PI. to Les Navigateurs Français, by Léon Guerin (Paris: 

1846). 



PRINCE HENRY OF PORTUGAL 

4 March 1394 — 13 November 1460 

Prince Henry, called "the Navigator," was the son of John I, King 
of Portugal, and of Philippa, daughter of John of Gaunt, son of King 
Edward HI of England. He distinguished himself in the wars against 
the Moors, but his fame rests chiefly on his work in directing maritime 
discovery. He promoted scientific studies at home, and sent out 
numerous expeditions for exploration and colonisation. The African 
coast was explored as far as the Gambia River, and the design adopted 
of reaching India by this southern route. The trade in negro slaves 
was inaugurated. In the Atlantic Ocean the Madeiras, the Azores, 
and the Cape Verde Islands were discovered, or rediscovered, and 
expeditions seem to have sailed even beyond the Azores. 

5 Copyright, 1903, by George Barrie & Sons. \ \ Prince Henry of 

Portugal, surnamed "The Navigator." After | the miniature in 
the Chronicle of the Discovery and Conquest of Guinea | by Gomes 
Eames de Azurara, begun in 1448 and completed in 1453. | Now 
in the Bibliothèque Nationale, Paris. 

[In the ornamental border] tfllAtlt ht hit tSliVt 

Bust : to r. ; hat draped in black, and neck-band black. 
Combination half-tone and line print, coloured : 3 'A x 2 '/« ; with ornamental 
border, 5 '/s x 4. PI. to The History of North America, edited by Guy Carleton 
Lee, University Edition, vol. I (Philadelphia : [1903] ). 

Gomes Eannes de Azurara was a Portuguese historian of the fifteenth century. 
His Chronica do descobrimento e conquista de Guine, completed in 1453, exists in a 
magnificently ornamented manuscript copy, said to have been prepared for the royal 
library at Lisbon, now in the Bibliothèque Nationale, Paris. It has been suggested 
that the miniature of Prince Henry which it contains is due to a painter of the school 
of the Flemish artist Jan van Eyck, who visited Portugal in 1428. The portrait 



is believed to represent the prince in mourning for his brother, Dom Pedro, who 
died in 1449. 

6 [On face of print] PRINCE HENRY | OF | PORTU- 

GALL 

FAC-SIMILE OF AN ANTIQUE AND EXCEEDINGLY RARE ENGRAV- 
ING MADE IN HOLLAND ABOUT THREE HUNDRED YEARS AGO. 

VV. L. : to r. ; looking to 1.; with body armour, helmet, shield and 
lance; representation of siege of Ceuta in background. Insets in 
upper corners. 
Line print : l*h x 6. PI. to Magazine of American History, vol. XXVII (1892). 

7 PRINCE HENRY. THE NAVIGATOR 

[In frame] HENRY INFANTE OF PORTUGAL. 1450. 

H. L.: tor.; in armour; head bare; r. hand in book. In architec- 
tural frame, with coat of arms and motto at bottom. 

Half-tone print from line engr.: oval, 3 x 2J^; with border, rect., 5?^ x 3Ji. PI. to 
European Background of American History 1300-1600, by Edward Potts Cheyney 
{The American Nation, vol. I) (New York and London : [1904] ). 



TOSCANELLI 
1397 — 15 May 1482 

Paolo dal Pozzo Toscanelli was a native of Florence, a graduate of the 
University of Padua, and one of the most learned men of science of 
his day. Letters, the authenticity of which is generally, but not 
universally, accepted, are extant from him to Columbus, discussing 
the project of a western route to the Indies. 

8 Portrait of Paolo Toscanelli. 

Bust : profile ; to 1. 

Half-tone print : 6»/» x 4 «A. PI. to Christoi>her Columbus, by John Boyd 

Thacher, vol. I (New York and London : 1903). 

The portrait of Toscanelli was painted by Alessio Baldovinetti'about 1471-1476. It 
no longer exists, but is believed to have been the model for that by Giorgio Vasari 
(1511-1574) in the Palazzo Vecchio, Florence, executed in 1569-1572. 

CHARLES VIII 

30 June 1470 — 8 AprU 1498 

Charles VIII, King of France, only son of Louis XI, succeeded to the 
throne in 1483, and assumed the government in 1492. 

9 Léonard de Vinci pinx^ I. Lith. de Delpech. Maurin 

[CHARLES VIII. I Roi de France. \ Tiré du Musée 

Royal de France. 

Nearly H. L. : to r. ; looking to 1 . ; with cap, fur scarf and insignia 

collar. 

Lith.: about lOJ^ x 9}^. PI. to Iconographie Française, by Madame Delpech, vol. I 

(Paris : 1840). 



10 /. Lith. de Delpech. \ Charles VIII. [Followed by facsimile of 
autograph.] 

Same portrait. 

Lith. : about 3 V2 x 3 Vi- 

François Sépharin Delpech (1778-1825), French writer and draughtsman, published 
many portraits in lithograph. His work was continued after his death by his widow. 

11 PLATE XXVI. II Charles VIII. of France. I Portrait 

by an unknown artist of the fifteenth century. Painted on wood. 
One-third | the size of the original. (Paris, in private ownership.) | 
History of All Nations, vol. X., page 376. 

H. L. : to 1.; wearing hat. 

Line print : S'/s x 4 Vs. PI. to A History of All Nations, by John Henry- 
Wright and others, vol. X (Philadelphia and New York [1905] ). 

The illustrations to this work are, for the most part, taken from the original 
German edition, AUgemeine Weltgeschichte (Berlin : 1884-1892). 



JOHN CABOT 

? — 1498 ? 

Giovanni Caboto, or John Cabot, a mariner, Genoese by birth, became 
a citizen of Venice in 1476, and, apparently about 1484, settled in 
London, In 1497 he commanded a ship which sailed from Bristol 
and came to land somewhere within the present dominions of Canada 
and Newfoundland, the first European vessel recorded to have done 
so, at least since the time of the Norsemen. In 1498 he led a second 
expedition westward : but there is no certain information as to the out- 
come. The evidence suggests that Cabot, after exploring a considerable 
part of the North American coasts and returning to England, soon 
died. 

12 IMAGINARY MEDALLION PORTRAIT OF JOHN CABOT. 

I By Carlo Barrera Pezzi. From | a memoir published in 
Venice in 1881. 

Medallion. Bust : profile ; to 1. 

Half-tone print : 2 Vb diam. In The New England Magazine, vol. XVII, Feb- 
ruary, 1898. 

ELIZABETH OF YORK 

11 February 1465 — 11 February 1503 

Elizabeth was the daughter of Edward IV of England, and became 
the Queen Consort of Henry VII, to whom she was married on 
January 18, 1486. 

13 ELIZABETH OF YORK | From the portrait in the National 
Portrait Gallery | Painter unknown 

[On picture] ELIZABETHA VXOR | HENRICI VII 

Nearly H. L.: to 1.; hands resting in front and holding white rose. 
Half-tone print : 5 x 3%. In the collection of Historical. Portraits chosen by Emery 
Walker and published by the Clarendon Press, vol. I (1909). 



POPE ALEXANDER VI 

1 January 1431 — 18 August 1503 

Rodrigo Llançol, usually known by his maternal name, Borja, or 
Borgia, was a Spaniard who became cardinal in 1456, and in 1492 was 
elected Pope. In April, 1493, he learned of the discovery of Columbus, 
and on May 3 and 4 issued two bulls by which he drew a line of de- 
marcation one hundred leagues west of the Azores and granted to the 
sovereigns of Spain the same rights over lands discovered or to be 
discovered by them west of that line as had previously been granted 
to the Portuguese over their discoveries on the African route. 

14 [In frame around portrait] ALEXANDRI VI PONT. MAX. 
ANN. VIII 

Bust : profile ; to 1. 

Clipping. Woodcut : oval, 1 Vie x ^lu ; with ornamental border, cut down. 

ISABELLA OF SPAIN 

22 April 1451 — 26 November 1504 

Isabella, daughter of John II, King of Castile, succeeded her brother, 
Henry IV, in 1474. In 1469 she had married Ferdinand, who became 
King of Aragon in 1479. The union of Spain was completed by the 
conquest of Grenada from the Moors in 1492. It was she who decided 
to equip the expedition of discovery proposed by Columbus, after his 
plans had been rejected by the officials of the Spanish court. 

15 Title missing. 

Nearly T. Q. L. : to r. ; book in r. hand. 

Line engr. : 3'/» x 2 'A. Margins, including title, trimmed. 

16 QUEEN ISABELLA OF SPAIN. 

W. L. : to 1. 

Print: about 7 Vi x 4V2. PI. to Magazine of American History, vol. XXVI 
(1891). 

17 ISABELLA THE CATHOLIC | erected by Madrid municipal- 
ity (1885) 

Equestrian statue on high pedestal : r. hand elevating cross. Figures 
of warrior and priest on either side. 

Half-tone print : 1% x SJ^. PI. to The Catholic Encyclopedia, vol. IX (New York : 
[1907] ). 

CHRISTOPHER COLUMBUS 

1446 ? — 20 May 1506 

Cristoforo Colombo, Cristobal Colon, or Christopher Columbus, the 
Discoverer of America, was a native of Genoa. His project of a 
westward voyage to India was adopted by the Spanish court in 1492: 



on August 3 he sailed from Palos, and on October 12 discovered land, 
probably Watling Island in the Bahamas. After visiting others of 
the Bahamas, Cuba and Haiti, he returned to Europe, arriving at 
Lisbon on March 4, 1493. He made three more voyages to the New 
World, in 1493, in 1498 — when he first reached the mainland — and 
in 1502. 

18 No. 5. The De OrcU Portrait. 

[On face of print] COLOMBVS LYGVR - NOV 
ORBIS REPTO 

Bust : to 1. 

Half-tone print : 5 Vs x 4«/». In text of Christopher Columbus, by John Boyd 

Thacher, vol. Ill (New York and London : 1904). 

Paolo Giovio, or Paulus Jovius (1480-1552), priest and author, gathered a 
large collection of portraits at his villa on the Lake of Como, Italy. In this gallery 
there was, in 1556, a portrait of Columbus. A painting now in the possession of 
the de Orchi family, of Como, is held to be the same portrait, inherited from the 
nephew and heir of Paulus Jovius. 

19 Portrait de Colomb. - D'après le portrait qui était dans la galerie 
de Paolo Giovio, et inséré dans l'édition illustrée des Eloges 
d'écrivains célèbres. 

Bust : to 1. 

Woodcut : about 3Vj x 3. In text of Voyageurs anciens et modernes, by 
Edouard Charton, vol. III (Paris : 1855). 

20 No. 1. The Jovian Portrait. 

Another copy, showing frame. 

Line print : 4'/» x Z^U; with ornamental border, 6 'A x 5V4. In text of 

Thacher, loc. cit. 

In 1575 Petrus Perna, of Basle, issued an edition of Jovius' Elogia Virorum in which 
is a woodcut representation of Columbus, said to be reproduced from the portrait 
at Como. The engraver, it is believed, was Tobias Stimmer (1539-1592 ?), a Swiss 
artist. 

21 No. 2. The AUissimo Portrait. 

[On face of print] CRISTO^S: COLOMBO 

Bust : to 1. 

Half-tone print : ôVs x 4 Vs. In Thacher, loc. cit. There is another copy in 

The Dawn of Canadian History, by Stephen Leacock (Toronto : 1914). 

These prints are from a painting in the Ufifizi Gallery, Florence, believed to be the 
copy of the Jovian portrait at Lake Como, made between 1552 and 1556 for 
Cosimo, Duke of Tuscany, by Cristofano di Papi, called "dell' Altissimo", a 
Florentine painter. 

22 THE FLORENCE PORTRAIT OF COLUMBUS. 

Similar picture. 

Woodcut : 5Vi X 4. PI. to Magazine of American History, vol. XXVIII (1892). 

This print seems to be derived from a copy of the Florence portrait, made in 1784 
for Thomas Jefferson, then Minister of the United States at the court of France, 
and since 1835 in the possession of the Massachusetts Historical Society, Boston. 



23 No. 16. The Ambras or Vienna Portrait. 

W. L. : to 1.; in fur-trimmed robe; in r. hand staff of standard, 
resting on globe. In lower r. hand corner representation of a ship 

with legend : A CASTILLA I A LEON NVEVO 
MVNDO DI COLO. 

Half-tone print : 1 % x i Vs. In Thacher, loc. cit. 

This picture is believed to have been copied in the sixteenth century from the Como 
portrait. It was long in the castle of Ambras, near Innsbruck, but in 1805 was 
removed to Vienna. 

24 No. 6. The Yanez Portrait - after Restoration. 

[On face of print] COLOMBVS LYGVR NOVI 

ORBIS REPTOR 

Bust : to 1. 

Half-tone print : 6»/» x 4 Vs. In Thacher, loc. cit. 

This portrait, now in the National Library, Madrid, was sold to the Spanish govern- 
ment in 1763 by Sefior N. Yaiiez of Granada as an authentic portrait of Columbus. 
It was found to have been painted over, and the original was restored about 1875. 
This seems to be an Italian painting of the Jovian type, and the claim has been made 
that it is the original Jovius portrait. 

25 Christophe Colomb. - D'après une gravure faite à Rome en 1596 par 
Capriolo, et reproduite dans le travail iconographique de M. Car- 
derera sur Colomb. 

Bust : to 1. 

Woodcut : about 3 'A x 2Vj- In text of Charton, loc. cit. 

26 No. 7. The Capriolo Engraving. 

[On face of print] CHRISTOPHORO COLOMBO 

Same picture : better reproduction. 

Half-tone print from line engr. : 4"/i6 x 3 Vi» (including title margin). In text of 

Thacher, loc. cit. 

This is an illustration to Ritratti di Cento Capitani Illustri Con U Lor Fatti in Guerra 
Brevemente Scritti, by Filippo Tomasini and Giovan Turpino, printed at Rome in 
1596 by Domenico Gigliotti. The engraving was by Aliprando Capriolo, a Florentine 
engraver. It seems to be a modified version of the Jovian type of portrait 

27 No. 11. The Royal Palace {Madrid), or Rinçon Portrait. 

Bust : to r. 

Print ; about 4x4. In text of Thacher. loc. cit. 

In the Royal Palace at Madrid is a portrait of Columbus, attributed to the Spanish 
artist Antonio del Rinçon (1446-1500). Critics now regard it as based on the Capriolo 
engraving, which it closely resembles. 

28 [In frame around picture] CHRISTOPHORVS COLVM- 

BVS GENVENSIS 

Portrait de Colomb, gravé par Th. de Bry, à | coté de celui 
d'Améric Vespuce, dans une | médaille faisant partie de la gravure 
qui a pour | titre : Amertcœ relectio, mise à la suite de la préface 
de la I quatrième partie de V Amérique. 

Bust : to r. 

Woodcut : 1 '/« diam.; with frame, 1 Vj- In text of Charton, loc. cit. 



8 

Dirk, or Theodorus, De Bry (1528-1598) was an engraver, a native of Liege, who 
spent the greater part of his life at Frankfort. There, in 1590, inspired by the example 
of Hakluyt, he began the publication of a collection of voyages, illustrated by en- 
gravings, to which the title usually given is Collectiones peregrinationutn in Indiam 
orientalem et Indiam occidentaletn. The work, in Latin and German, was continued 
by his family, and completed in 1634. Part IV of the "America" section was pub- 
lished in 1594. This Columbus portrait is said to have been engraved by Adriaen 
CoUaert, a Flemish designer and engraver of the second half of the sixteenth century, 
and to have been based upon a painting by Jan van der Straet (1523 ?-1605 ?), also 
known as Johannes Stradanus and as Giovanni della Strada, a native of Bruges, who 
lived in Italy the greater part of his life, where he became an artist of prominence. 

29 CHRISTOPHORVS-COLVMBVS. | henri Lefort feat Anno ISPl. 

[On guard] An imaginative but satisfactory portrait of 

I Christopher Columbus. | Reproduction of 

the etching made by Henri Lefort in 1891 from 
I the portrait preserved in the Naval Museum at 
Madrid. \ {The rights to this etching are owned by M. Knoedler & 
Co,, New York.) 

Bust : to r. 

Etching : oval, 6 x A'U; with border, rect., T'/s x 5 'A. PI. to Thacher, op. cit., 
vol. I (1903). 

Henri Lefort (b. 1852) was for a time president of the "Société des Aqua- 
fortistes." 

30 [On face of print] CHRISTOPHORVS COLVMBVS. [ Facsimile of 
monogram and signature of Columbus below print.] 

[On guard] Portrait of | Christopher Columbus I 

From the painting in the Marine \ Museum at Madrid \ 
Reproduced from Lefort' s \ etching, by permission of \ M. Knoedler 
& Company, | New York. \ Signature from his letter \ to the Span- 
ish Sovereigns, \ February 6th, 1502. 

Same picture. 

Colour half-tone print : 4V8 by 3 Vs. PI. to A History of the United States and 
its People, by Elroy McKendree Avery, vol. I (Cleveland : 1904); also in Journal of 
American History, vol. II (1908). 

31 Copyright 1903 by G. Barrie cS- Sons. 

[On guard] CHRISTOPHER COLUMBUS | Water-color 
facsimile after the painting by an unknown artist, now in 
the Museo Naval at Madrid. 

Same picture : nearly H. L. 

Photogravure, coloured : S x 3'/8. PI. to The History of North America, edited 
by Guy Carleton Lee, University Edition, vol. I (Philadelphia [1903] ). There is 
a half-tone copy in A History of All Nations, by J. H. Wright and others, vol. 
XXI (Philadelphia and New York); and a photogravure copy in The Spanish 
Conquerors, by Irving Berdine Richman (New Haven, etc.: 1919). 

The painting in the Marine Museum, Madrid, is a late production, probably of the 
nineteenth century. It seems to have been based on careful study of the older por- 
traits, and of such information as has been preserved regarding the appearance of 
Columbus. 

32 CHRISTOFLE COLOMB, GENEVOIS 

H. L. : to r. ; looking to 1.; bearded; astrolable in 1. hand. 

Line engr. : 6 '/« x S i/j. In Pourtraits et vies des hommes illustres, by André 

Thevet (Paris : 1584). 



The portrait published by André Thevet (1502-1590) differs markedly from all 
independent types of Columbus portraits. There is no ground for believing that it 
is not fictitious. 

33 Christofel Colonus. 

H. L. : to r. ; looking to 1.; ship in distance. 

Line engr. : irregular, 6 x 51/4; with ornamental border of fish, shells, etc., rect., 
11 X 6Vj- PI- to America, by John Ogilby (London : 1671) There is a copy 
in Magazine of American History, vol. XXVI (1891). 

Adapted from Thevet's portrait. It appeared first in De nieuwe en onbekende Weer- 
eld, by Arnoldus Montanus (Amsterdam: 1671), and is usually designated the Mon- 
tanus portrait. 

34 CHRISTOPHER COLUMBUS 

Bust : to 1.; bearded. In architectural frame. 

Print after engr. : oval, 2 'A x 2V8; with ornamental border rect., about 
6'/i X 4'/4- In Magazine of American History, vol. XXVI (1891). 

35 COLUMBUS. I Who first discovered the West Indies. 

Same portrait : to r. In oval frame on pedestal. Four small 
scenes at bottom. 

Print after engr. : oval, S'/e x 2V8; with ornamental border, rect., 6^ x 3%. In 
Magazine of American History, vol. XXVI (1891). 

These portraits are based on one which appeared in the 1728, Madrid, edition of the 
Historia general de los hechos de los Castellanos of Herrera (1549-1625), and which 
in turn was derived from the Montanus portrait. 

36 Christophe Colomb. - D'après la gravure du fils de Th. de Bry, 
publiée en tête de la cinquième partie des Grands Voyages. (Ce 
serait, suivant | Th. de Bry, la copie fidèle d'un portrait peint, 
d'après nature, par ordre d'Isabelle et de Ferdinand IV, avant le 
départ de Colomb pour ses | expéditions). 

Bust : to 1.; with cap. 

Woodcut : about 3 x 2V2. In text of Charton, loc. cit. 

37 QVI RATE VELIVOLA OCCIDVOS PENETRAVIT A IDOS I 
PRIMVS ET AMERICAM NOBILITAVIT HVMVM I I 
ASTRORVM CONSVLT', ET IPSO NOBILIS AVSV | CHRIS- 
TOPHOR' TALI FRONTE COLVMB' ERAT 

[Around portrait] CHRISTOPHORVS COLVMBVS 

LIGVR, INDIARV PRIM 'INVET^^ Aoi492 

Same picture : complete reproduction of original, including border. 
Photo-process print : 3V2 diam.; with ornamental border, rect., S Vs x 4 Vs. PI. 
to Hakluylus Posthumus or Purchas His Pilgrimes, vol. II (Glasgow : 1905). 
There is a half-tone reproduction of the De Bry portrciit in Thacher, op. cit. 
vol. III. 

This engraving appears in Part V of the "America" section of De Bry's Voyages, 
published in 1595. He states that it is from a copy of a painting made by order of 
the sovereigns of Spain before Columbus departed on his first voyage, a copy given 
by the artist himself to a friend of De Bry. There is no other record of any such 
contemporary portrait of Columbus, and this fact, together with obvious chronologi- 
cal and other difficulties, have rendered De Bry's story suspect. The original en- 
graving was executed by De Bry's son, John Theodore De Bry (1561-1623). 



10 

38 Boissard del. Worthingion sc. \ CfiXietOpijitX CoïUtttÏJUÔ. [Facsimile 
of handwriting, with monogram and signature, follows.] 

Same picture. 

Line engr. : 4V« x 35^. 

Jean Jacques Boissard (1528-1602) was a French writer and antiquarian. The 
De Bry engraving of Columbus was printed in several works published under Bois- 
sard's name: Icônes et vitœ virorum illustrium (Frankfort: 2nd part, 1597); Bihlio- 
theca site thesmtms virtiitis et gloriœ (Frankfort: 1628-1634); and Bibliotheca calco- 
graphica (Frankfort: 1650-1664). William Henry Worthington, an English line 
engraver, was born about 1795, and is known to have been doing work in 1833. 
His Portraits of the Sovereigns of England was published in London, 1824. 

39 Another copy of the De Bry portrait. Title missing. 

Clipping. Line engr. : about 3'/« x 2'/s. 

40 Lith. de Lemercier A Paris. A Mauriu \ 1836. \ CHRIS- 
TOPHE COLOMB. 

Same picture : to r. 

Lith. : about 4 x 3Vi- PI- to Biographie maritime, by M. Hennequin, vol. II 

(Paris : 1836), 

Antoine Maurin (1793-1860), a French historical painter, prepared the portraits to 
illustrate Hennequin's work. Rémond Jules Lemercier (b. 1802) was a Paris prin- 
ter who contributed much to the artistic development of lithography. 

41 No. 22. The Versailles Portrait. 

Bust : to r.; wearing cap. 

Half-tone print : 4 V» x 3 •/•• In text of Thacher, loc. cit. 

The claim has been made that the painting in the Historical Museum at Versailles, 
which was brought from Brussels to Paris in 1833, is the original of the De Bry por- 
trait. It is now regarded as more probably a copy from the De Bry. 

42 CHRISTOPHER COLUMBUS. 1 From the Engraving by Mer- 
curio. 

Same picture. 

Clipping. Half-tone print : 2 x I'/i. 

Paolo Mercuri (1808-1884), a famous Italian engraver who practised in Paris during 
the years 1832-1847, made an engraving from the Versailles portrait. 

43 No. 23. The Talleyrand Portrait. 

H. L. : to r. ; 1. hand across body. 
Half-tone print : 6V« x 5. In Thacher, loc. cit. 

This portrait, now in the Metropolitan Museum, New York City, is said to have long 
hung in the château of Valençay, department of Indre, France, the property of the 
Due de Talleyrand Valençay et Segan. It closely resembles, but is not identical 
with, that of Versailles. An inscription attributes it to "Sebastianus Venetus." 
Sebastiano Luciani (1485-1547), called Sebastiano del Piombo, was a native of Venice 
who went to Rome, worked for a time in conjunction with Michel Angelo, and was 
regarded, after the death of Raphael, as the most distinguished painter in Rome. 
If it is a genuine work of Sebastiano, it may be the original of the De Bry engraving, 
but need not have been painted as a portrait of Columbus. 



11 

44 No. 36. The Lotto Portrait. 

H. L. : to r. ; head turned to 1.; r. hand holding map; 1. hand 

beside hour-glass resting on book. 

Half-tone print : 5 '/« x 4 '/s. In text of Thacher, loc. cit. 

This portrait was discovered in Venice about 1890 by the archaeologist Antonio 
della Rovere, and came to the United States in 1892. It bears what purports to be 
"the signature of Lorenzo Lotto, and a date, indistinct, which may be 1512. It is not 
certain that the subject is Columbus. Lorenzo Lotto (1480-1556), a Venetian by 
birth, is especially famous as a portrait painter. 

45 CHRISTOPHER COLUMBUS | FROM THE ORIGINAL PAINTING IN 
THE ROYAL GALLERY AT NAPLES BY PARMIGIANO. [Facsimile of a 
large mezzotint engraving by W. O. Burgess, tn the collection of Mr. 
W. C. Crane.] 

H. L. : seated; to r. ; bearded; with cap; 1. hand resting on side 
of chair. 

Half-tone print : 5 Vj x 4' ft. In text of Magazine of American History, vol. 
XXVII (1892). Another copy in Thacher, loc. cit. 

This picture, now in the Museo Borbonico, Naples, formerly in the Farnese Gallery, 
is attributed to Francesco Mazzuola (1504-1540), called II Parmigiano, a native of 
Parma. It is said to have been painted about 1527 for Cardinal Alexander Farnese; 
and also to be the portrait of a certain Gilberto de Sassuoli. William Oaklej' 
Burgess (1818-1844) was an English mezzotint engraver. 

46 CHRISTOPHER COLUMBUS. | [Copy of the celebrated portrait in 
London by Sir A . More, after the miniature which the Queen of Spain 
caused to be painted for her- 1 self, believed to be the only authentic 
portrait of Columbus at that period of his life.] 

T. Q. L. : to r. ; seated; with neck ruff; glove in r. hand. 
Half-tone print : 7 Vj x 6. PI. to Magazine of American History, vol. XXV 
(1801). There is a half-tone copy of the same picture, showing frame, in the 
text of Thacher, loc. cit. 

This portrait, now in the United States, but for many years in England, purports 
to be of Columbus. A tradition says that it was painted by Antonis Mor (1512- 
c. 1582), or Antonio Moro, a Dutch artist, for Margaret, Duchess of Parma 
(1522-1586), daughter of the Emperor Charles V. 

47 [On face of print] CHRISTOPOR^^ I COLVMBVS 

Portrait de Christophe Colomb. - D'après celui de la galerie de 
Vicence publié par M. Jomard. 

Bust : to r. ; with neck ruff and chain. 
Woodcut : about 3 x 2*/2. In text of Charton, loc. cit. 

48 Another copy of same portrait. H. L. 
Clipping. Stipple engr.: about 3 Vz x 3. Trimmed. 

From the Jomard portrait, discovered at Vicenza in 1844 by Edmond François 
Jornard, librarian of the Bibliothèque Nationale, Paris, and now in that library. 
It is an Italian painting of the sixteenth century, resembling the work of Titian. 

49 M. Maella pinx. P. Maverick sculp. Newark, N. J. | CHRISTOPHER 
COLUMBUS. I [From an American engraving of the Maella por- 
trait.] 

Bust : to 1.; with body armour and neck ruff. 

Print from engr. : S x 4)^. In text of Magazine of American History, vol. 

XXVI (1891). There is another copy in Thacher, loc. cit. 



12 

This portrait was first published in 1793 in the Historia del nuevo mundo of Juan Bau- 
tista Munoz. It was from a picture painted by the Spanish artist Mariano Salva- 
dor Maella (1739-1819) after a portrait in the possession of the Duke of Berwick y 
Liria, head of the Portuguese branch of the descendants of Columbus. Peter 
Rusthon Maverick was an American engraver of the first half of the nineteenth 
century. 

50 COLUMBUS. 

T. Q. L. : seated; in prison, wearing chains. 

Print from lith. : ô'/s x 5. PI. to Magazine of American History, vol. XXIII 

(1890). 

The original is a picture by Gustave Wappers (1803-1874), a Belgian 
historical painter. 

51 TOMB OF COLUMBUS. | | Pubd. ma, by R. SentUy, Nev 
Burlington Stt. 

[Inscription] 16 Restos é Imagen del grande Colon! | 
Mil siglos durad guardados en la Vrna | Yen la 
remembranza de nuestra Nacion. 

Tablet on the tomb in the cathedral, Havana; with effigy, nearly 
H. L. 

Etching : the effigy, oval, 3*/4 x a'/s; the entire tablet, rect., 7V4 x 4*/s. PI. to 
Transatlantic Sketches, comprising visits to the most interesting scenes in North and 

South America, and the West Indies by Capt. J. E. Alexander . . . vol. I 

(London : 1833). 

52 Tombeau de Christophe Colomb, à la Havane. 

[Inscription] 10 Restos 6 Imagen del grande Colon! \ Mil 
siglos durad guardados en la XJrna \ Y en la remen- 
hranza de nuestra Nacion \ Z fecit Habanae \ MDCCCXXH 

Same picture. 

Woodcut : 5M x 3%. In text of Charton, loc. cit. 

What were regarded as the remains of Columbus were removed from Santo Domingo 
to the cathedral of Havana in 1795, and were preserved there until 1898, when they 
were taken to Seville, Spain. 

53 MONUMENT IN HONOR OF COLUMBUS AT GENOA. 
[Inscription] A | CRISTOFORO COLOMBO j LA PATRIA 

Statue. W. L. : with pediment and pedestal. 
Clipping. Woodcut : about 4 V2 x 3 Vj- 

This monument was placed in the public square of Genoa in 1862. 

54 THE STATUE OF COLUMBUS AT COLON 

Statue. W. L. : with Indian boy. 
Clipping. Half-tone print : 4 'A x 3 1/4. 

This statue of Columbus was presented in 1870 by the Empress Eugénie to the city 
of Colon, headquarters of the French engineers who were attempting the construction 
of the Panama Canal. 

55 Christopher Columbus. 

Representation of a bust. 
Clipping. Half-tone print : 6M x 4?^. 

After the De Bry type of portrait. 

There are other modern prints of portraits of Columbus in the collection. 



13 

HENRY VII 

28 January 1457 — 21 April 1509 

Henry Tudor, son of Edmund Tudor, Earl of Richmond, and Margaret 
Beaufort, grand-daughter of John of Gaunt; head of the Lancastrian 
line after the death of Henry VI ; and King of England after the defeat 
and death of Richard HI at Bosworth Field, August 22, 1485. He 
authorised the expeditions of John Cabot, granted him a pension on 
his return from his first voyage, and by letters patent and largesses 
encouraged, throughout his reign, voyages of discovery to "the new 
found land". 

56 HENRY VII | From the portrait in the National Portrait Gallery ! 
Painter unknown | Face p. 26 

[On the picture is an inscription, partly indistinct, bearing date 
October 29, 1505.] 

Nearly H. L.: to 1.; with cap, furred robes, and insignia collar; hands 
shown as though resting on table. 

Half-tone print : 7}^ x 5J^. In the collection of Historical Portraits chosen by 
Emery Walker and published by the Clarendon Press, vol. I (1909). There is another 
copy in The Dawn of Canadian History, by Stephen Leacock (Toronto : 1904). 

This painting is believed to be the work of a Flemish artist. 

57 Boilard sculp. \ HENRY VII. 

H. L. : to 1.; in cap and ermine robe. 

Line engr. : oval, 3 Vs x 2 '/<; with border, 3 Vi x 3 '/w. PI. to Smollett's History 
of England (1757). 

This picture is based on an engraving made by George Vertue (1684-1756), from a 
painting at Windsor, for Rapin and TindaV s History of England, 1732. Louis Pierre 
Boitard (d. 1758), born in France, came to England in the reign of George I and be- 
came a noted engraver of book plates. 

58 HENRY VII I Vertue delin. | Published as the Act directs April 14: 
1804. by J. Stratford, No. 112 Holborn Hill, London. \ A. W. Warren, sculpt. 

Another copy of Vertue's engr. To 1.; with sceptre. Octagon, in 
architectural frame. 

Line engr. : 3V4 x 3; with border, 6V» x 5 Vs, irregular. PI. to Hume's History 
of England, published by J. Stratford (1804). 

Alfred William Warren was an engraver who practised in London in the early part, 
of the nineteenth century. 

59 Engraved by W. Ridley, from a Painting in Kensington Palace. | HENRY VII. 

Another copy. To r.; with sceptre. 
Stipple engr.: oval, 3 V4 x 2 Vt. 

William Ridley (1764-1838), an English engraver, known chiefly by his book illua- 
trations. 

60 HENRY VII 

Another copy. Bust : to r.; with sceptre. In oval frame on 

pedestal, on each side of which is a female figure. 

Clipping. Line engr. : 3Ji x 2H', with border, rect., 6H x iH- Cut down. 



14 

AMERIGO VESPUCCI 

9 March 1451 — 22 February 1512 

Amerigo Vespucci, or Americus Vespuccius, a native of Florence 
and employee of the Medici, went to Spain, apparently in 1492, made 
voyages to the new world, and in 1508 was appointed chief pilot of 
Spain. Published accounts, attributed to him, describe his voyages 
of 1497, 1499, 1501 and 1503, but they are not considered trust- 
worthy. They led, however, to the application of the name 
"America" to the new mainland by Martin Waldseemiiller (c.l475- 
C.1522) in his map of the world and Cosmographiae Introductio of 
1507. 

61 [On scroll above figure] AMERICI VESPVCII 

More than H. L.: to!.; holding large measuring compass with both 
hands. 

Photolithographic print from woodcut; about 10% x 8. On one of the plates of 
The Oldest Map with the Name America of the year 1507 and the Carta Marina of the 
year 1516 by M. Waldseemiiller (Ilacomilus), edited by Jos. Fischer and Fr. R. v. 
Wieser (Innsbruck : 1903). 

Martin VValdseemiiller, who adopted the Graecized name "Ilacomilus", was 
celebrated both as a humanist and as a cartographer. The only known copy of 
his map of 1507 was discovered in 1901 by the Rev. Joseph Fischer, S.J., in the 
castle of Wolfegg in Wiirtemberg. The portrait of Amerigo Vespucci which the 
map bears is probably wholly imaginary. 

62 AMERIGO VESPUCCI NOBILE FIOREN- 
TINO i DISCOPRITORE DELL' AMERICA. \ 

nacque nel MCCCCLI. mori nel MDXVI \ neW 
ISOLE delle TERZIERE nel PORTOGALLO.\ 

Cavato da un Quadro antico appresso I' I Unto : Sigre : Amerigo 

Vespucci I Giuliano Traballesi del: Franco: Allegrint inci. 

Nearly H. L. : to r. ; partly unrolled map in r. hand. Coat of 
arms in title margin. 

Print from line engr. : 4'/8 x 4 Vs. PI. to Magazine of American History, vol. Ill 
(1879). 

Giulio, or Giuliano, Traballesi (1726-1796), born at Florence, was a designer, engraver 
and etcher. He made many of the drawings for the collection of portraits of illus- 
trious Florentines, which were engraved by Francesco Allegrini (b.c. 1729) and others. 

63 Copyright 1903 by G. BarrU & Sons 

[On guard] AMERIGO VESPUCCI I Photogravure from 
the copy of the painting by Bronzino, now | in possession 
of the Historical Society of Massachusetts. 

Same picture. 

Photogravure : 5 x 4. PI. to The History of North America, edited by Guy 

Carleton Lee, University Edition, vol. I (Philadelphia: [1903] ). 

Angiolo Allori (1502-1572), called II Bronzino, was an eminent Florentine painter 
and poet. The portrait of Amerigo Vespucci attributed to him is said to have been 
preserved in the family of Vespucci until 1845, when it was obtained by Charles 
Edwards Lester, United States consul at Genoa. There is a copy in the gallery of 
the Massachusetts Historical Society. 



15 

64 AMERIC, VESPUCE, 

H. L. : to r.; bearded; holding map. 

Line ener. : 6'/» x S '/s. In Pourtraits et vies des hommes illustres, by Anflié 

Thevet (Paris : 1S84). 

Probably a purely imaginary portrait. 



65 Americus Vesputius 



H. L. : to r. ; with compass, book, globe, etc.; ships in distance. 
Line engr. : irregular oval, 6 x 5 'A; with ornamental border, rect., 11 x 6'/t. 
PI. to America, by John Ogilby (London : 1671). 

Adapted from Thevet's portrait; first published in De nieuwe en onbekende WeereUl, 
by Arnoldus Montanus (Amsterdam: 1671), 

66 [In frame around portrait] AMERICVS VESPVCCIVS 

FLORENTINVS 

Améric Vespuce. - D'Après le médaillon | publié par Th. de Bry, 
en tête de la gra- | vure qui a pour titre : America releclio, \ à la 
suite de la quatrième partie de l'Ame- | rique, dans les Grands 
Voyages. 

Bust : to 1.; with cap. 

Woodcut : 1 V« diam.; with frame, 1 Vj. In text of Voyageurs anciens el 
modernes, by Edouard Charton, vol. Ill (Paris : 1855). Cf. no. 28 supra. 

67 [In frame around portrait] AMERICVS VESPVTIVS FLOREN- 
TINVS. TERRiE BRESILIANAE INVENTOR ET SVBACTOR. 

[Below portrait] NIL INTENTA- \ TUM 

[Beneath the picture are some Latin verses, indistinct in this print.] 

Bust : to r. ; with cap and cloak. 

Clippins;. Print, from engr. : irregular oval, 2x1 'A; with ornamental border, 
rect., 2% X 2}4- There is another copy in Magazine of .American History, 
vol. XXVII (1892). 

The original is an engraving, probably by Crispin Van de Pass (c. 1565-1637), 
published in a work entitled Effigies Regum ac Principiim, eortim scilicet quorum 
vis ac potentia in re nautica sen marina prcB cœteris spectabilis est which was 
printed at Cologne about 1598. 

68 AMERICUS VESPUCIUS. 

Same portrait. 

Clipping. VVo'jdcut : about 3x2. 

69 A. Maurin \ 1835. imprimé par Lemercier I AMERIC 

VESPUCE. 

Similar picture : plumed hat and fur-trimmed cloak. 

Lith. : about 4x3 Vj- PI. to Biographie maritime, by M. Hennequin. vol. I 
(Paris : 1835). 

POPE JULIUS II 

5 December 1443 — 21 February 1513 

Giuliano della Rovere, a native of Albissola, near Savona, Italy, was 
created cardinal in 1471 and elected Pope in 1503. He succeeded 



16 

Pius III, who had been raised to the pontificate on the death of 
Alexander VI, but had reigned only twenty-six days. On November 
15, 1504, he issued a bull creating an archiépiscopal see, with two 
suffragan dioceses, in the island of Hispaniola (Haiti). This bull 
remained inoperative, and the first dioceses actually to be erected 
in the New World, two in Hispaniola and one in San Juan (Porto 
Rico), were created on August 8, 1511. 

70 PLATE XXIX. 1 1 Pope Julius II. | Reduced facsimile of a 

wood-cut, in two blocks, by Hugo da Carpi (1455-1523). 
\ History of All Nattons, vol. X., page 381. [On face of print] 

IVLIVS. LIGVR. PAPA. SECVNDVS. I 
MCCCCCXI 

Bust : profile; to 1. 

Print : 4Ji diam. PI. to A History of All Nations, by J. H. Wright and others, 
vol. X (Philadelphia and New York : [1905] ). 

Ugo da Carpi (1455 ?-1523 ?) was an Italian painter and engraver who is especially 
famous for his woodcuts. These were executed in chiaroscuro, by successive print- 
ings from two or more blocks of different shades. 

71 JULIUS II I RAPHAEL, PITT! PALACE, FLORENCE 

More than H. L.: to r. ; seated. 

Colour half-tone print : 6% x 5%. PI. to The Catholic Encyclopedia, vol. VIII 
(New York : [1910] ). 

Raphael Sanzio (5 April 1483-6 April 1520), one of the most famous of the artists 
of the Italian Renaissance, was a native of Urbino. His early work was done at 
Urbino, Perugia and Florence. From 1508 until his death he lived at Rome, where 
he was employed by the Popes Julius II and Leo X on a series of frescoes in the 
Vatican, and also executed a vast number of other masterpieces. 
There are two replicas, almost equal in merit, of Raphael's portrait of Julius II. 
That in the Pitti Gallery, Florence, is considered to be a contemporary copy by an 
artist of the Venetian school, and that in the Uffizi Gallery of the same city is prob- 
ably also a copy by a pupil or assistant of Raphael. 

72 XVIE Siècle 

W. L. : profile ; to 1.; kneeling. 

Line engr., coloured : about 9% x 7. PI. to Costumes historiques des XVI*, 
XVII' et XVIII' siècles, by E. Lechevallier-Chevignard and Georges Duplegsis. 
vol. I (Paris : 1867). 

This picture is from the portrait of Julius II introduced by Raphael into the fresco 
"The Mass of Bolsena", in the Vatican, executed in 1512. 



JAMES IV OF SCOTLAND 

17 March 1473 — 9 September 1513 

James, son of James III of Scotland and Margaret of Denmark, ascend- 
ed the throne at the murder of his father in 1488. From his marriage 
in 1503 with Margaret, daughter of Henry VII of England, resulted, 
a century later, the union of the crowns of England and Scotland. He 
was killed at the battle of Flodden. 



17 

73 XVI? Siècle 

[Facsimile of title in script is on face of print.] 

W. L. : on horse-back; to 1. 

Line engr., coloured : about 6Ji x S'/z. PI. from Costumes historiques des 
XVI'. XVII' et XVIII' siècles, by E. Lechevallier-Chevignard and Georges 
Duplessis, vol. I (Paris : 1867). 

This print is said to be from a contemporary coloured drawing preserved in Paris. 

74 JAMES IV, KING OF SCOTLAND ( From the drawing attributed 
to Jacques le Boucq of Artois in the | Library of the town of Arras | 

Face p. 30 

[Written on original] Jacques Roy descoss IV du nom né le 16 mars 

1472 & mort le 10 septembre 1513. 

H. L.: to 1.; r. hand holding glove. 

Half-tone print : l\^xS]4. In the collection of Historical Portraits chosen by Emery 

Walker and published by. 'he Clarendon Press, vol. I (1909). 

Jacques Le Boucq was herald to Charles V and Philip II. 

ANNE OF BRITTANY 

26 January 1476 — 9 January 1514 

Anne, daughter of Francis II, Duke of Brittany, succeeded her father 
as duchess in 1488. In 1491 she was married to Charles VIII, King 
of France, and in 1499 to his successor, Louis XII. 

75 /. Lith. dc Deipech. zin Bclliard I ANNE DE BRETAGNE | 

l'Original fait parti de la Collection des Manuscrits de la Bibliothèque 
Royale de France. 

Nearly H. L.: to r.; with jewelled head-dress and necklace. 

Lith.: about 9x8 PI. to Iconographie Française, by Madame Delpech, vol. I 

(Paris : 1840). 

Zéphirin Félix Jean Marins Belliard (1798-?), lithographer and miniature painter, 
was born at Marseilles. He exhibited at Paris between 1822 and 1843. 



BARTHOLOMEW COLUMBUS 

? — November 1514 

Bartolomeo, or Bartholomew, a brother of Christopher Columbus, was 
a navigator and cartographer, and was Christopher's representative in 
an effort to obtain help from Henry VII of England. Returning, he 
learned of his brother's success and joined him in Haiti in 1494. He 
was appointed adelantado of the new dominion. 
76 BARTHOLOMEW COLUMBUS. 

[Title of original] DON BARTHOLMEO | COLON ] L Adelan- 
tado. 

Nearly H. L. : to 1.; in armour. 

Print : oval, 4 x 3J^. In Narrative and Critical History of America, by Justin 

Winsor, vol. II (Boston and New York : [1886] ). 



18 

This is a reproduction of an engraving in the Madrid, 1727-30, edition of Herrera's 

Historia general. 

77 Barthélémy | Colomb | \ Lêop Flaming del \ delbuc 

W. L. : to 1. 

Woodcut : 75< X 5. PI. to Christopher Columbus and the Discovery of the New 

World, from the French of the Marquis de Belloy (London : 1878). 

LOUIS XII 

1462 — 1 January 1515 

Louis, Duke of Orleans, great grandson of Charles V of France, suc- 
ceeded to the French throne on the death of Charles VIII in 1499. 
In 1514 he married, as his third wife, Mary Tudor, sister of Henry 
VIII of England. 

78 XVJE Siècle 

W. L. : on horse-back ; to 1.; in armour ; under canopy, with 

attendants. 

Line engr., coloured : about 9^â x 6'/2. PI- to Costumes historiques des XV I^, XVII' 
et XVIII^ siècles, by E. Lechevallier-Chevignard and Georges Duplessis, vol. II 
(Paris : 1867). 

This print reproduces a miniature in a codex in the Bibliothèque nationale, Paris — 
Manuscrits français, ancien fonds 5091 — containing a poem by Jean Desmarets, 
or Marot, secretary to Louis' second queen, Anne of Brittany, describing the con- 
quest of Genoa by Louis in 1507. The poem was dedicated to Queen Anne, and this 
seems to be the presentation copy. 

79 Z^^Belliard Ulh. de Delpech à Paris. \ LOUIS XII. 

Bust : to r. ; with diadem, and collar of shells. 

Lith. : about 9 X 9. PI. to Iconographie Française, by Madame Delpech, vol. I 

(Paris : 1840). 

80 Fig. 159. — Equestrian statue of Louis XIL in the Château of 
Blois, the king's birthplace. | (Fifteenth century work.) 

W. L. : on horse-back ; to 1. ; in armour. 

Print : 7 x 4%. In A History of All Nations, by J. H. Wright and others, vol. 

X (Philadelphia and New York : [1905] ). 

FERDINAND OF SPAIN 

16 March 1452 — 23 February 1516 

Ferdinand II of Aragon, husband of Isabella, Queen of Castile and 
Leon, eflfected, with the help of his wife, the unification of Spain, and 
ruled during the period of the discovery of, and first Spanish settle- 
ments in, America. 

81 Fig. 135. — Ferdinand IL the Catholic, dressed in his armor, 
preserved in the castle of Am- | bras. (Engraving from a work 
on the collection at Ambras, published in 1602.) 

W. L. : to r. ; wearing crown. 

Print : ô'/j x 4H- In A History of All Nations, by J. H. Wright and others. 

vol. X (PhUadelphia and New York : [1905] ). 



19 

82 C. P. NICHOLLS | [Facsimile of signature.] | FERDINAND OF 
SPAIN. 

Bust : profile ; to 1.; with cap and diadem. 

Print : 3% diam. In text of Narrative and Critical History of America, by 

Justin Winsor, vol. II (Boston and New York: [1886] ). 

This is from an engraving, after an ancient medallion, which appeared in Coleccion 
de varios documentos para la historia de la Florida y tierras adyacentes, by Buckingham 
Smith (Madrid: 1857). 

VASCO NUNEZ DE BALBOA 

C. 1475 — 1517 

Balboa, a native of Jerez de los Caballeros, was a Spanish adventu- 
rer who came to the New World in 1501, settled in Haiti, and in 1510 
established a colony at Darien. In 1513 he led an expedition which, 
on September 25 or 26, first sighted the Pacific Ocean. He was 
appointed "Adelantado of the South Sea" by King Ferdinand, but was 
put to death by his successor in the government of Darien. 

83 El Adelantado BASCO NUNES de\xeres que des-cubrio la mar del 
Sur. 

H. L. : to 1.; in armour, sword in 1. hand. 

Print : 2% x lyi. PI. to The History of North America, edited by Guy Carleton 

Lee, University Edition, vol. I (Philadelphia: [1903] ). 

This print is from that which appeared in the 1728, Antwerp, edition of Herrera's 
Historia general de los hechos de los Castellanos. 

84 VASCO NUNES DE BALBOA. 

Bust : to 1. Based on same picture. 
Clipping. Woodcut : about 3M x 2j^. 

LEONARDO DA VINCI 

1452 — 2 May 1519 

Leonardo was born near the town of Vinci in the territory of Florence. 
His life was spent in various parts of Italy and, towards the end, in 
France. He displayed an extraordinary combination of the highest 
talents, attaining eminence as artist, engineer, scholar and man of 
science. To him has been attributed a map of the world, drawn ap- 
parently about 1512-19, one of the earliest bearing the name America. 
It was found among Da Vinci's papers, and was probably executed for 
him if not actually his work. 

85 Engraved by J. Posselwhite. | LEONARDO DA VINCI. | After a 

Picture by himself engraved by | Raffaelle Morghen. | 

Under the Superintendance of the Society for the Diffusion of Useful 
Knowledge. | London, Published by Charles Knight, Ludgate Street 6* Pall 
Mall East. 

Nearly H. L.: to r.; bearded; with cap. 

Stipple engr.: 5^ x 4; with border, 5>i x 4^. PI. to The Gallery a} Portraits, 
vol. IV (London : 1835). 



20 

86 Engraved by J. Posselwhite from an Engraving by Raffaelle Morghen after a. 

Picture by Lionardo da Vinci. | LIONARDO DA VINCI.* 

Same portrait. 

Clipping. Line and stipple engr. : S}^ x 4. 

Rafaello Morghen (1758-1833), a native of Florence, was one of the most celebrated 
engravers of his time. Authorities state that his portrait of Leonardo was after a 
painting by Baroccio (1528-1612), an artist of Urbino. 

FERDINAND MAGELLAN 

C. 1480 — 27 April 1521 

Fernao de Magalhaes, Fernando Magellanes, or Ferdinand Magellan 
was a Portuguese who, after long service in the East Indies, fell into 
disfavour with the King of Portugal and offered his services to King 
Charles of Spain. He proposed to reach the Spice Islands, believed to 
lie on the Spanish side of the line of demarcation between the pos- 
sessions of the two countries, by sailing westward. On September 
20, 1519, he sailed from Spain; on November 28, 1520, he passed 
through the strait which bears his name and entered the South Sea, 
called by him the Pacific Ocean. On March 6, 1521, he arrived at 
the Ladrones Islands, and on April 27 was killed by the natives of 
one of the Philippines. One of his ships completed, for the first time, 
the circumnavigation of the globe, arriving in Spain on September 6, 
1522. 

87 FERNAND MAGELLAN, PORTV- 
GA IS. 

H. L. : to r. ; looking to 1. 

Line engr. : 6% 3C S'/j. In Pourtrails et vies des hommes illustres, by André 

Thevet (Paris : 1584). 

88 FERDINAND MAGELLANUS. 

Nearly H. L. : looking to 1.; with globe and compass. 

Line engr. : oval, 7x6; with ornamental border, rect., 11 x ôVi- PI- to 
America, by John Ogilby (London : 1671). 

This was first published in De nieuwe en onbekende Weereld, by Arnoldus Montanus 
(Amsterdam: 1671). It was probably adapted from the Thevet portrait. 

89 Copy from preceding. 

Clipping. Woodcut : oval, A% x SYi- 

90 Fernam de Magalhaes. After the copperplate by Ferdinand Selma. 
I From the original in the New York Public Library, Lenox Branch. 
(Title of original print] FERDIN. MAGALLANUS. | SUPER- 
ATIS. ANTARCTICI. FRETI. | ANGUSTIIS. CLARISSMUS. I 

Ferdin. Selma delin et incid. anno 178S 

Bust : to 1.; with cap and fur scarf. 

Print from engr. : oval, 3Vi x 3; with architectural frame, rect., ST^ x 3J4- PI- 
to The History of North America, edited by Guy Carleton Lee, University Edition, 
vol. I (Philadelphia : [1903] ). There is another copy in A History of All Naiiotu, 
by J. H. Wright and others, vol. XXI (Philadelphia and New York : [19051 )• 



21 

Fernando Selma (c, 1750-1810) was one of the most skilful of Spanish engravers, 
and his engraved portrait of Magellan is among his best known plates. 

91 Fernand de Magellan, — D'après le portrait publié par Navarrete. 

Same picture, without frame. 

Woodcut : about 3'/2 x 3%. In text of Voyageurs anciens el modernes, by 

Edouard Charton, vol. Ill (Paris : 1855). 

Martin Fernandez de Navarrete (1765-1844) was an officer of the Spanish navy who, 
about 1789, was commissioned to arrange the material relating to the naval history 
of Spain. In 1825 he began the publication of his Coleccion de los viages y descubri- 
mientos que hicieron por mar los Espaholes desde fines del siglo XV. The fifth and 
last volume published was issued in 1837. 

92 [Title in frame] FERDINANDVS MAGAGELANES LV- 
SITANVS. 

Bust : to 1. Adapted from preceding portrait. 
Clipping. Etching: 3>é diam.; with frame, A}^. Trimmed. 



POPE LEO X 

11 December 1475 — 1 December 1521 

Giovanni de' Medici was the son of Lorenzo de' Medici, the Magnificent, 
of Florence. He was nominated cardinal in 1489, and elected Pope 
on March 11, 1513, in succession to Julius IL 

93 PLATE XXX. | | Pope Leo X. receiving the Golden 
Slippers. | Dedication in a Praeparatio ad missam made for Leo 
X. and adorned with many miniatures. | Manuscript on parchment 
(1520), Berlin. | History of All Nations, Vol. X., Page 383. 

(On face of print] M.D.X.X. 1 LEO. X. PATRIA FLORENT. 
POT. M. 

W. L. : to 1.; seated on throne; cardinals and others attending. 
Half-tone print : 1% x 4j^. PI. to A History of All Nations, by J. H. Wright 
and others, vol. X (Philadelphia and New York: [19051). 

PONCE DE LEON 

C. 1460 — 1521 

Juan Ponce de Leon was a Spanish nobleman who sailed in the second 
expedition of Columbus, and in 1510 was governor of Porto Rico. 
Having heard an Indian myth of a fountain of perpetual youth, he 
went in search of it, and on March 27, 1513, discovered Florida. 

94 El Adelantado lUAN PONCE Des- | cubridor de la Florida. 

Nearly H. L. : to 1.; with hat and body armour. 

Print from engr. : IVz x 2. PL to The History of North America, edited by Guy 
Carleton Lee, University Edition, vol. I (Philadelphia : [1903]). There is another 
copy in Narrative and Critical History of America, by Justin Winsor, vol. II 
(Boston and New York : [1886] ). 

From the Antwerp, 1728, edition of Herrera's Historia general. 



22 

95 PONCE DE LEON 

Bust : to 1. 

Clipping. Woodcut : about 2Ji x 2Ji. 

POPE ADRIAN VI 

2 March 1459 — 14 September 1523 

Adrian Dedel was a native of Utrecht who became vice-chancellor 
of^the university of Louvain and in 1506 was selected as tutor to the 
future Emperor Charles V. Later he held important offices in Spain, 
including that of regent. In 1517 he was created cardinal, and on 
January 9, 1522, was elected Pope, succeeding Leo X. 

96 Fig. 16. — Pope Adrian VI. Etching by Daniel Hopfer. (First 
third of the sixteenth | century.) 

[On face of print] ADRIANVS NATIONE I CIMBRIGVS 
PATRIA I DERTVNENSIS P | D H 

Bust : profile to r. 

Print : about 5^ x 4%. In text of A History qf All Nations, by J. H. Wright 

and others, vol. XI (Philadelphia and New York : [1905] ). 

Daniel Hopfer was a German engraver who is said to have established himself in 
1495 at Augsburg, where he was still working in 1536. 

VASCO DA GAMA 

C. 1460 — 24 December 1524 

Vasco da Gama, a Portuguese soldier and mariner, was placed in 
command of the expedition which sailed on July 9, 1497, with the 
design of completing the work of Prince Henry by opening a route to 
India by way of the African coast. On May 20, 1498, he arrived 
at Calicut on the Malabar coast. He made two more voyages to 
India, in 1502 and 1524, on the latter occasion as viceroy of India. 

97 Portrait en pied de Vasco da Gama. — D'après Barreto de Rezende 

W. L. : to 1.; telescope in r. hand, 1. hand on helmet. 

Woodcut : about 7x4. In text of Voyageurs anciens et modernes, by Edouard 

Charton, vol. Ill (Paris : 1855). 

98 Copyright 1903 by C. Barrie & Sons 

[On guard] DOM VASCO DA GAMA I Photogravure 
from a portrait by P. Barretto de Resende in the \ Sloane 
MS., now in the British Museum. 

Similar picture; slight variations in the drawing. 

Photogravure : 5}^ x 3M- PI- to The History of North America, edited by Guy 
Carleton Lee, University Edition, vol. I (Philadelphia : [1903] ). 

99 Same picture as preceding. 
Clipping. Half-tone print : 4Ji x 3Ji. 

Pedro Barreto de Resende (d. 1651) went to India in 1629 as secretary to the Conde 
de Linhares, the viceroy. He wrote a history of the Portuguese viceroys, of which 



23 

what is believed to be the original manuscript, dated 1635, is in the Bibliothèque 
nationale, Paris — Fonds portugais, vol. I. There is a contemporary copy, catalogued 
as of 1640, in the British Museum, Sloane MS. 197. Both these codices are 
illustrated with somewhat crude miniatures, executed, apparently, by an Indian 
artist. They were copied from the portraits which hung in the palace of the 
viceroys at Goa. 

100 [Facsimile of signature.] | Portrait de Vasco da Gama. — D'après une 
peinture du seizième siècle. 

Bust : slightly to r.; with cap and fur scarf. 
Woodcut : about 3Ji x 3. In text of Charton, loc. cit. 

101 Vasco da Gama. | From a portrait formerly the property of | the 
Conde de Farrabo, now hanging in the \ Museu das Bellas Artes in 
Lisbon. 

Same picture. H. L. 

Half-tone print : oval, 3 x 2Y2. In Lee, loc. cit. 

102 Vasco da Gama. I | From a painting by an unknown | artist, now 
hanging in the Museu das | Bellas Artes at Lisbon. 

H. L. : to r.; resembles preceding. 
Half-tone print : 3 x 2. In Lee, loc. cit. 

103 Vasco da Gama. | | From the portrait now hanging in | the Hall of 
Honors of the Lisbon \ Geographical Society. 

H. L. : looking to 1. 

Half-tone print : 3 x 2. In Lee, loc. cit. 

104 A« Maurin \ 1837. Imp. de Lemerder \ VASCO DE GAMA. 

H. L. : looking to 1. 

Lith. : about iVz x 4M- PI- to Biographie maritime, by M. Hennequin, vol. Ill 

(Paris : 1837). 



GIOVANNI DA VERRAZANO 

C. 1480 — 1528 ? 

Giovanni da Verrazano was a Florentine mariner in the French service 
who, in 1524, sailed westward seeking a route to China. He dis- 
covered and explored the American coast, apparently from about 
North Carolina to about Cape Breton. He is believed to have made 
another voyage to the same coast in 1526, and to have been killed by 
the natives in 1527 or 1528, possibly while attempting to follow the 
track of Magellan, possibly while acting as pilot to the EngHsh ship 
Mary of Guildford. 

105 GIOVANNI DI PIER ANDREA DI BERNARDO DA 
VERRAZZANO \ PATRIZIO FIOR^P GRAN 
CAPITA? COMANDANTE IN MARE PER \ IL RE 
CRI ST I AN I SSI MO FRANCESCO PRIMO. \ E DIS- 
COPRITORE DELIA NUOVA FRANCIA. \ nato circa 



24 

i; MCDLXXXV. morto nel MDXXV. \ Dedicato al merito 
sing.-ri deir 111:^^0 g Rev.ff^o Sig:^^ Lodovico da Verraz- 
zano I Patrizio, e Canonico Fiorentino Agnato del 
Med:^ \ Preso dal Quadro Originale in Jela esistente 
pressa la sud:^ Nobil Famiglia \ c. ZocM deu f. Aiuorini 

inci: 1767 

H. L. : to r. 

Print from line engr. : 5 x 4%. PI. to Magazine of American History, vol. II 
(1878). There is a copy in The Dawn of Canadian History, by Stephen Leacock 
(Toronto : 1914). 

Guiseppe Zocchi (c. 1711-1767) was a Tuscan painter and engraver. This picture 
is said to have been copied from a painting in the royal gallery at Florence which has 
since disappeared. Cf. no. 62 supra. 



CARDINAL WOLSEY 

C. 1475 — 29 November 1530 

Thomas Wolsey, a priest sprung from an obscure family at Ipswich, 
advanced himself to the highest offices in England. He was made 
successively royal almoner, privy councillor, bishop of Lincoln, arch- 
bishop of York, cardinal, lord chancellor, and papal legate, and from 
about 1512 to 1529 was chief minister of Henry VHL Then, having 
lost the royal favour, he was deprived of the majority of his honours 
and emoluments, and in the following year died while under arrest 
for treason. His name is associated in extant documents with an 
attempt made in 1521 to send an English expedition to America, and 
with measures taken in 1522 to protect the Newfoundland fishing fleet. 

106 Fig. 65.— Cardinal Wolsey. Engraving by J. Houbraken (1698-1780). 
[On face of print] CARDINAL | WOLSEY. 

Nearly H. L. : profile; to 1.; with cape and biretta. In frame on 
pedestal, with ornaments. 

Print : oval, iVi x 3: with border, rect., 65^ x A%. In A History of Alt 
Nations, by J. H. Wright and others, vol. XI (Philadelphia and New York : [1905] ). 

Jacobus Houbraken (1698-1780) was a native of Dordrecht, son of the painter Arnold 
Houbraken. He became famous as an engraver of portraits. That of Wolsey was 
published in Heads of Illustrious Persons of Great Britain, with text by Dr. Birch 
(London: 1743-52). It is based on the painting at Christ Church, Oxford, attri- 
buted, incorrectly, to Holbein. 

107 Benoist sculp. \ WOLSEY. 

Same portrait. To r.; plain oval. 

Line engr. : oval, 3}^ x 2%; with border, 3?^ x 2%. PI. to Smollett's History 

of England (1757). 

Guillaume Philippe Benoist (1725-1800) was a French line engraver. 

108 Gent. Mag. Nov. 1824. PI. II. p. 401. \ | THOMAS WOLSEY, | 
Cardinal, Ahp. of Y.orli, \ and Lord Chancellor. Died Noo. 20. 
1529. 



25 

Same picture : ornament on biretta; coat of arms in title margin. 

Line engr. : oval, 3}4 x IVz; with border. SU x 3ii. PI. to The Gentleman's 
Magazine, November, 1824. 

109 Engraved by W. HoU. | CARDINAL WOLSEY. \ OB. 1530. i 
FROM THE ORIGINAL OF HOLBEIN. IN THE COLLECTION AT j 
CHRIST CHURCH, OXFORD. | London. Published JanV /. tS29. by 
Harding 6* Lepard, Pall Mall East. 

Better copy of same original painting. More than H. L. : profile; 
to 1.; r. hand raised in benediction; view of Christ Church through 
window. 

Stipple engr. : A% x 3%. PI. to Portraits and Memoirs of the most illustrious 
personages of British History, by Edmund Lodge, 3rd éd., no. II (London : 1829). 

Edmund Lodge (1756-1839), historian and biographer, was an officer of the College 
of Arms in London who became Lancaster herald in 1793, Norroy in 1822, and Claren- 
ceux in 1838. The first edition of his Portraits and Memoirs of Illustrious Personages 
was begun in 1814. There have been several later editions and reprints. William 
Holl (1807-1871), the son of an engraver of the same name, became himself one of the 
prominent English engravers of the middle of the nineteenth century. As stated 
above, the portrait of Wolsey on which this plate is based is not now regarded as a 
genuine Holbein. 

110 CARDINAL WOLSEY | From the drawing attributed to Jacques 
le Boucq of Artois | in the Library of tne town of Arras | Face p. 34 
[Written on original] Thomas Wolsey Cardinal dyork autheur du 
schisme 

Bust : to r. 

Half-tone print : 6J^ x 4%. In the collection of Historical Portraits chosen by 
Emery Walker and published by the Clarendon Press, vol. I (1909). 

111 THOMAS WOLS^VS CARD, | Fortunae varianiis opus 
VOLSAEVS ad alta \ Scandit iter dubium, certâ minitante 
ruina 

H. L. : in profile, to r.; in biretta and robe; scroll in r. hand. 

Line engr.: 4H x 4}^. PI. to Herwologia Anglica, by H [enry] H loUand] (1620). 

The Hertùologia Anglica of Henry Holland (1583-1650?) was published with the 
assistance of Crispin van de Passe, but it is not certain that he engraved any of 
the plates. 

LOUISE OF SAVOY 

1476 — 14 September 1531 

Louise, daughter of Philippe, Duke of Savoy, became the wife of 
Charles d'Orléans, cousin of Louis XII of France. On the death of 
Louis, her son succeeded as Francis I. She exercised much influence in 
his government, and was twice regent of France, in 1515 and in 1525- 
26. 

112 XVI? Siècle 

W. L. : seated on throne; looking to r. 

Line engr., coloured : about S}4 x 4. PI. to Costumes historiques des XV 1^, XV 11', 
et XVIII' siècles, by E. Lechevallier-Chevignard and Georges Duplessis, vol. I 
(Paris : 1867). 

This portrait is from a miniature in a manuscript of the Bibliothèque 
nationale, Paris — Manuscrits français, ancien fonds 145 — a collection of 



26 

religious verses presented to Louise of Savoy by the community of Notre-Dame-du- 
Puy at Amiens. The names of the artist and the illuminator are preserved, laque 
Platel and Jehan Pinchon. 

113 DamotalUr pinx{ Imp. Lith. de Delpech. Z^J}_ BclUard \ 1828. \ 

LOUISE DE SAVOYE, DUCH^^"^ D'ANGOU- 

LEME I Mère de François t" 

Nearly H. L.: to r. 

Lith.: about 10 X 9. PI. to Iconographie Française, by Madame Delpech, vol. I 

(Paris : 1840). 

There were several painters of the name Dumoustier or Dumonstier working in 
Paris in the sixteenth and seventeenth centuries. 

MARY TUDOR, QUEEN OF FRANCE 

March ? 1496 — 24 June 1533 

Mary, third daughter of Henry VII and Elizabeth of York, was 
married to Louis XII of France, October 9, 1514. After the death 
of Louis she married Francis Brandon, Duke of Suffolk. 

114 MARY TUDOR, QUEEN OF FRANCE, WITH THE | DUKE 
OF SUFFOLK | From the portraits in the possession of the Duke of 
Bedford, K.G. 

H. L.: tor.; r. hand holding a curious emblematic device, 1. hand in 
hand of the Duke. 

Half-tone print : 4J^ x 3%. In the collection of Historical Portraits chosen by Emery- 
Walker and published by the Clarendon Press, vol. I (1909). 

POPE CLEMENT VII 

1478 — 25 September 1534 

Giulio de' Medici was the son of Giuliano de' Medici and first cousin 
to Pope Leo X. In 1513 he was made cardinal, and on November 
18, 1523, was elected Pope in succession to Adrian VI. 

115 CLEMENT VH. 

[In circular frame] CLE VII P M [Underneath portrait] 
Super Aspidem el basiliscum ambulabis 

Bust : profile; to 1. 

Print : 3^ diam.; with border, rect., 5Ji x 4H- In text oi Narrative and Critical 

History of America, by Justin Winsor, vol. II (Boston and New York : [1886] ). 

The original was an illustration in Praeclara Ferdinadi Cortesii de noua maris Oceani 
Hyspania narratio, published by Pierre Savorgnanus at Nuremberg in August, 1524, 
containing the letter from Cortes, conqueror of Mexico, to Charles V, dated October 
30, 1520. 

116 Fig. 18. — Pope Clement VII. Engraving by Daniel Hopfer. 
[Title on original] CLEMENS . DER . | SIEENT. DER . I 

GROST . BISCHF | d h 

Bust : profile; to 1. 

Print : 4 x 2Ji (including title plate). PI. to A History of All Nations, by J. 

H. Wright and others, vol. XI (PhUadelphia and New York : [1905] ). 



27 
CATHERINE OF ARAGON 

15 or 16 December 1485 — 8 January 1536 

Catherine, daughter of Ferdinand and Isabella of Spain, was married 
in 1501 to Arthur, eldest son of Henry VII of England. He died in 
1502, and in 1509 she was married to his brother, King Henry VIII. 
In 1532 this marriage was annulled by the archbishop of Canterbury. 

117 KATHARINE OF SPAIN | From a portrait in the National Portrait 
Gallery | Painter unknown | Face p. 120 

H. L.: toi. 

Half-tone print : ipi x i%. In the collection of Historical Portraits chosen by 

Emery Walker and published by the Clarendon Press, vol. I (1909). 

ANNE BOLEYN 

1507? — 19 May 1536 

Anne, daughter of Sir Thomas Boleyn of Norfolk, was married to 
Henry VIII about January 25, 1533, and crowned on June 1 follow- 
ing. In May, 1536, she was put to death for treason. Her only 
child afterwards succeeded to the throne as Queen Elizabeth. 

118 [On mount] Copyright 1901 by G. Barrie & Son 

[On guard] ^ttlte iioleptt | After the Painting by François \ 
Clouet now in the possession of \ Général Herillier, Paris. 

Nearly H. L. : to r. 

Photo-process print : 314 x 2. Mounted. PI. to Lives of the Queens 0/ England, 
by Agnes Strickland, Imperial Edition, vol. IV (Philadelphia : [1902] ). 

François Clouet (c. 1516-c. 1573), son of Jean Clouet, succeeded his father as painter 
to the court of France. He has left a large number of portraits of his contemporaries. 

119 [On mount] Copyright 1901 by G. Barrie <S- Son [On facc of print] 
BOLLINA VXOR HENRICI OCTAVI 

[On guard] J^oUina JSxor ^tnxiti <0Ctat). | a panel, by an 
unknown artist | of the German School of the X VI \ Century, which 
hung in the bed- \ chamber of Queen Elizabeth until \ 1585. Now in 
Windsor Castle. 

Bust : to 1. 

Photo-process print : 3J^ x 2. Mounted. PI. to Strickland, loc. cit. 

120 ANNE BOLEYN | From a portrait in the National Portrait Gallery] 
Painter unknown 

Similar portrait. 

Half-tone print : 4^4 x 3%. In the collection of Historical Portraits, chosen by 

Emery Walker and published by the Clarendon Press, vol. I (1909). 

JANE SEYMOUR 

1509? — 24 October 1537 

Jane, daughter of Sir John Seymour of Wiltshire, succeeded Anne 
Boleyn in the favour of Henry VIII and was married to him on May 



28 

30, 1536. She died soon after the birth of her son, the future Ed- 
ward VI. 

121 [On guard] Habp Sfàxit ê>epmour aftertoarb | (©ueen of 

Ï^Cnrp "ÇTSSS | After the Painting by Hans Holbein now in the 

I Belvedere Gallery, Vienna 

T. Q. L. : to 1. 

Photo-process print after line engr. : 5% x 4. PI. to Lives of the Queens of 
England, by Agnes Strickland, Imperial Edition, vol. V (Philadelphia : [1902] ). 

Hans Holbein (1497-1543), one of the world's greatest portrait painters, was born at 
Augsburg, the son of an artist known as Hans Holbein the elder. His early work 
was done chiefly at Basle and Lucerne. In 1526 he came to England with a letter of 
introduction from Erasmus to Sir Thomas More. In 1528 he returned to Basle, but 
in 1532 was again in England, where he remained, except for occasional journeys to 
the continent, the rest of his life. From 1536 he was frequently in the service of 
Henry VIII. One of the earliest of his many paintings and drawings of court per- 
sonages is that of Jane Seymour at Vienna, of which there is a contemporary replica 
at the Duke of Bedford's seat, Woburn Abbey, besides a preliminary drawing at 
Windsor. His paintings and drawings — of the latter there is an important collection 
at Windsor — have much historical value. 

122 Engraved by H. Robinson. | QUEEN JANE SEYMOUR. | 

OB 1537. I FROM THE ORIGINAL OF HOLBEIN, IN THE COLLECTION 
OF I HIS GRACE THE DUKE OF BEDFORD. | London, Pub- 
lished JanV J, 1829, by Harding &• Lepard, Pall MM East. 

Same portrait. 

Line engr. : 5x3^. PI. to Portraits and Memoirs of the most illustrious per- 
sonages of British History, by Edmund Lodge, 3rd éd., no. Ill (London : 1829). 
There is a half-tone copy in Historical Portraits, chosen by Emery Walker and 
published by the Clarendon Press, vol. I (1909). 



MARGARET TUDOR, QUEEN OF SCOTLAND 

29 November 1489 — 18 October 1541 

Margaret, eldest daughter of Henry VII and Elizabeth of York, was 
married to James IV of Scotland, August 8, 1503. 

123 MARGARET TUDOR | From the portrait in the National Portrait 
Gallery | Painter unknown | Face p. 114 

H. L.: to 1. 

Half-tone print : 4% x 3%. In the collection of Historical Portraits chosen by 
Emery Walker and published by the Clarendon Press, vol. I (1909). 

CATHERINE HOWARD 

? — 13 February 1542 

Catherine, fifth wife of Henry VIII, was daughter of Lord Edmund 
Howard, younger son of Thomas, second Duke of Norfolk. She was 
married to Henry July 28, 1540. In 1542 a bill of attainder against 
her was passed by parliament. 

124 KATHARINE HOWARD | From the portrait in the National 
Portrait Gallery | (School of Holbein) | Face p. 126 [On face of picture] 
Etatis Svae. 21. 



29 

H. L.: to 1.; hands clasped. 

Half-tone print : SJi x 3H- I" the collection of Historical Portraits chosen by Emery 

Walker and published by the Clarendon Press, vol. I (1909). 



HERNANDO DE SOTO 

1496 ? — 25 ? June 1542 

Hernando, Fernando, or Ferdinand de Soto, called the Discoverer of 
the Mississippi, was a soldier and explorer who served with dis- 
tinction in the Spanish conquests of Central America and Peru. 
In 1537 he was appointed Governor of Cuba and A delantado of Flori- 
da. In 1539 he led a large expedition to Florida, and spent the three 
years till his death in explorations and Indian fighting. In 1541 he 
reached and crossed the Mississippi river at Chickasaw Blufïs. 

125 El A delantado Hernando de | Solo. 

H. L. : to r.; in armour, with sword in r. hand. 

Print after engr. : 2H x 2. PI. to The History of North America, edited by Guy 
Carleton Lee, University Edition, vol. I (Philadelphia : [1903] ). There is a 
larger reproduction in the text of Narrative and Critical History of America, by 
Justin Winsor, vol. II (Boston and New York : [1886] ). 

The original is in the Antwerp, 1728, edition of Herrera's Historia general. 

126 J. w. ORR N. Y. I FERDINAND DE SOTO. 

Bust : to 1. 

Clipping. Woodcut : about 4 x 3J4- 



JAMES V OF SCOTLAND 

10 April 1512 — 16 December 1542 

James V, son of James IV of Scotland and Margaret, daughter of 
Henry VII of England, succeeded to the throne on his father's death 
at Flodden, and died soon after the defeat of his own army at Solway 
Moss, and the birth of his daughter, Mary, Queen of Scots. 

127 JACQUES V. DU NOM, ROY D'ES- 
COSSE. 

H. L. : to r.; head in profile; in armour; sceptre in r. hand. 
Line engr. : 6J4 r 5H- In Pourtraits el vies des hommes illustres, by André Thevet 
(Paris : 1584). 



128 JAMES V OF SCOTLAND | From a portrait in the possession of 
the Duke of Devonshire | Face p. 38 

More than H. L.: to 1.; r. hand holding jewel suspended from neck. 
Half-tone print : 6Ji x SJ^. In the collection of Historical Portraits chosen by Emery 
Walker and published by the Clarendon Press, vol. I (1909). 



30 

PHILIPPE DE CHABOT 

C 1492 — 1 June 1543 

Philippe de Chabot, Seigneur de Brion, Count of Charny and ;Buzan- 
çais, was appointed admiral of France on March 23, 1526. In 1541 
he was condemned for peculation, but was almost immediately par- 
doned and restored to his dignities. He thus held ofhce during almost 
the whole period of Jacques Cartier's explorations: he issued the 
letters patent authorising preparations for the voyages of 1535. 

129 PHILIPPES CHABOT, ADMIRAL \ 
de France. 

H. L. : to r. 

Line engr. : 7 x S%. In Pourtraits el vies des hommes illustres, by André Thevet 

(Paris : 1584). 

HENRY VIII 

28 June 1491 — 28 January 1547 

Henry VIH, son of Henry VH and EHzabeth of York, succeeded to 
the throne of England on April 22,1509. During his reign several at- 
tempts were made at western exploration : apparently an unsuccessful 
search for a north-west passage by Thomas Pert, of the royal navy, 
in 1516-17; an abortive effort in 1521 to get the Livery Companies 
of London to send an expedition under Sebastian Cabot; a voyage 
in 1527 by John Rut in the .ship Mary of Guildford; and 
another by a Master Hore, a lawyer of London, in 1536. 

130 [Facsimile of signature.] | HeNRV VIII. DRAWING BY HaNS 
Holbein [ From the original cartoon preserved in the print-room | at 
Munich 

Head : full face. 

Half-tone print, from chalk drawing : 3%x 2%. In text of The Catholic 

Encyclopedia, vol. VII (New York : [1910] ). 

131 Copyright, 1902, by George Barrie &* Sotis 

[On guard] I^îttg ^ttxxp "^333 l^ïtitutinq a Cîjarter to 

tfje I Companp of IBarber ^UVQtOni \ After the Painting by 
Holbein 

M W. L. : seated; surrounded by kneeling members of the Company. 

Colour half-tone print : 3% -x. S%. PI. to Lives of the Queens of England, by 
Agnes Strickland, Imperial Edition, vol. V (Philadelphia : [1902]). 

132 PLATE V. I I Henry VHL, King of England. | From the 
large painting by Hans Holbein the younger (1497-1554), which 
represents the king | bestowing upon the guild of surgeons and 
barbers in London their new statutes. Original j painting in Lon- 
don. Reduced facsimile of a part of the engraving by B. Baron, 
1736. I History of All Nations, Vol. XL, page 147. 



31 

W. L. : seated. Section of preceding, reversed. 

Print : 7H X 5. PI. to A History of All Nations, by J. H. Wright and others, 
vol. XI (Philadelphia and New York : [1905] ). There is a half-tone copy in 
the collection of Historical Portraits chosen by Emery Walker and published by the 
Clarendon Press, vol. 1 (1909). 

The majority of the portraits of Henry VIII attributed to Holbein are by other hands. 
The drawing at Munich is authentic, and that in the Barber- Surgeons' Hall was begun 
by him in 1542, but left unfinished at his death. Bernard Baron (c. 1700-1766) 
was a French engraver who spent the later part of his life in England. 

133 Copyright 1902 by G. Barrie & Son 

[On guard] l^ettrp "^ISWe \ After the Painting by Holbein now in 
Windsor Castle \ "Who can look without disgust at the face which 
Hans I Holbein's faithful brush has transmitted to us ? — the \ small 
pig's-eyes, the drooping, flabby, greasy cheeks — these \ would have 
revealed the man, had history been mute, — the \ man destitute alike of 
principles and affections, who never | experienced an emotion of love, 
of pity, of gratitude, or of | remorse." 

T. Q. L. : in furred robe, hat, and collar of rubies; gloves in r. 

hand. 

Photo-process print : 5Ji x 4. PI. to Agnes Strickland, loc. cil. 

134 Engraved by W. T. Fry. | KING HENRY THE EIGHTH. | 
OB. 1547. I FROM THE ORIGINAL OF HOLBEIN, IN THE COLLECTION 
OF I THE RIGHT HON?^'^ THE EARL OF EGREMONT. | 
London, Published Oct''. 1, 1830, by Harding &• Lepard, Pall Mall East. 

Similar picture. 

Stipple engr. : 4% x 3^. PI. to Portraits and Memoirs of the most illustrious 
personages of British History, by Edmund Lodge, 3rd éd., no. XXIII (London : 
1830). 

135 Another copy : last line of title omitted. 

The painting at Windsor is believed to be by an artist of the Flemish school, and that 
at Petworth is contemporary, though it is not an exact replica. William Thomas 
Fry (1789-1843) was an English engraver of some reputation. 

136 HENRY I VIII 

Similar portrait; variations in details. Nearly H. L. : in oval 
frame. 

Clipping. Line engr. : oval, il/s x 21/% \ with ornamental border, rect., 6J^ x 4}^. 
Trimmed. 

137 Holben Pinx{ Edwards Scp\ 

Similar portrait, reversed; further variations in details. Nearly H. L. 
Clipping. Line engr. : about 4 x 3J^. Trimmed. 

138 HENRICVS D.G. Vlir ANGLIC, FRAN, ET HIB, 
REX\Fortihus HENRICVS soUtus dare iura BRI TAN NOS \ 

I Fulmen erat Martis, verae et pietatis alumnus \ Vnde armis 
regnum, populus pietate refulget. \ AB 

H. L.: to r. ; eyes directed to 1.; sceptre in r. hand; with plumed and 

jewelled hat and insignia collar. 

Line engr.: 5>i x 45^. PI. to Heriùologia Anglica, by H [enry] H [olland] (1620). 



32 

139 HEN: VIII. 

[On tablet] Viro | Praestantissimo \ SAMUELI PEPYS | Armigero. | 
Ad. S. D. Regem | CAROLUM II. \ Admiralitati \ Angliae | o Secretis; \ 
Sigillum hoc \ HD. FS. 
[Obverse of seal : inscription in border] HENRI C- 

OCTAVS. DEI. GRATIA. ANGLIE. FRAN- 
CIE. ET. HIBERNIE. REX. FIDEI. 
DEFESOR. ET. Ï. TERA. ECCLESIE. 
AGLICANE. ET. HIBERNICE. SVPREMV. 
CAPVT. 

[Reverse : the same inscription, with slight variations in lettering.] 

Obverse. W. L. : seated on throne, with crown, sceptre, globe, 
and robes of state. Reverse. W. L. : on horseback; to r.; in 
armour; with brandished sword, diadem, hound. 

Line engr. : each, 4 diam.; with border, 5J^. PI. to A Genealogical History of 
the Kings and Queens of England and Monarchs of Great Britain, by Francis 
Sandford and Samuel Stebbing (London : 1707). 

This is an engraved representation of the seal of Henry VIII as adopted after he was 
proclaimed King of Ireland in 1541. The engraving is dedicated by Francis Sand- 
ford to Samuel Pepys (1633-1703), the diarist. 



FRANCIS I 

12 September 1494 — 31 March 1547 

Francis, son of Charles of Valois, great-grandson of Charles V, and of 
Louise of Savoy, succeeded to the French throne on the death of 
Louis XII, January 1, 1515. To him Verrazano made a report of 
his explorations, and by him were sent out the expeditions of Cartier 
and Roberval. 

140 XVI? Siècle 

W. L. : on horse-back; to 1.; in armour. 

Line engr., coloured : about 8}^ x 7>^. PI. to Costumes historiques des XVI*, 
XVII' et XV III* ^iècles, by E. Lechevallier-Chevignard and Georges Duplessi.i, 
vol. I (Paris : 1867). 

This portrait is from a painting in the Louvre, dated about 1524 and attributed to 
Jean Clouet (c.1485-1540-1). Clouet, who was called Jehan, Jehanot, Jehannot, or 
Janet, was of Flemish origin, and perhaps the son of a Jean Clouet, or Cloet, an artist 
in the employ of the Duke of Burgundy. He was court painter to Francis I from 
about 1516 till his death. 

141 Tiziano VECELLI dit LE TITIEN 1477 1576 

I Ecole Vénitienne \ Portrait de François l^ 

H. L. : head in profile, to r. 
Photo, from painting : 9J4 x 8. 

Tiziano Vecelli, known as Titian (1477 ?-1576), was born in Cadore, Venetia, at a 
date usually given as 1477, but by some considered to be 1489. He became one of the 
world's greatest painters, and some of his best work was done in portraiture. He 
executed pictures for the Venetian Republic, the Emperor Charles V, Pope Paul III, 



33 

Phillip II of Spain, and many other contemporary rulers. His portrait of Francis I, 
now in the Louvre, was painted about 1536, but not from direct sittings, for he never 
saw the French King. 

142 Maurin /. Uth. </* Delp^ch. Tuun pinx*. I FRANÇOIS 1^*^ I Rot 
de France. 

Same picture. To !. 

Lith.: about 10 x 10. PI. to Iconographie Française, by Madame Delpech, vol. I 
(Paris : 1840). 

143 FRANCIS I I I ING OF FRAN 

Same picture. Bust : to r. Two knights in armor, with gauntlet on 

ground between them, in title border. 

Clipping. Line engr. : oval, 2% x 3 ; with border, rect., 7 x 4}^. Trimmed 

144 Ferdinand de{ \ jFtanCOiîf l^F 

Same picture. Bust : to 1. 
Clipping. Line engr. : about 2Ji x lyi. 

145 FRANCIS FIRST 

Same picture. Nearly H. L. : to 1. 
Clipping. Stipple and line engr. : about 3% x 3%. 

There is also a half-tone print, similar to preceding : oval, 5 x 3Ji. 

146 PLATE X. I I Francis I. of France, and his Family. | 
Miniature in Francis I.'s Prayerbook. (Berlin : Hamilton Collec- 
tion.) I History of All Nations, Vol. XL, page 215. 

W. L. : seated, at table; looking to 1.; surrounded by members of 
the household. 

Photo-process print : 6J^ x 4%. PI. to A History of All Nations, by J. H. 
Wright and others, vol. XI (Philadelphia and New York : [19051 )• 

147 FRANCOIS I. DV NOM, ROY DE 

FRANCE. 

H. L. : to 1.; looking to r. ; r. hand holding sceptre, 1. hand on 

sword. 

Line ener. : 6% x 55^. In Pourtrails et vies des homines illustres, by André 

Thevet (Paris : 1584). 

148 E. KRELL. X. T. \ FiG. 11. — Francis I., King of France. 
Medallion in gilded bronze, by an artist of the | French school of 
the sixteenth century. 

Bust : profile; to 1. 

Print : 4Ji diam. In text of J. H. Wright and others, loc. cit. 

POPE PAUL III 

29 February 1468 — 10 November 1549 

Alessandro Farnese, member of an ancient Roman family, was created 
cardinal in 1493 and elected Pope, October 13, 1534, ia succession 
to Clement VII. 



34 

149 Fig. 72. — Pope Paul III. Reduced facsimile of the engraving by 
Agostino Veneziano, | who flourished 1509-1536. 

[Original title] PAVLVS . III. PONT. MAX. | 
M. D. XXXV. 

Bust : profile; to 1. 

Print : 5% x AY». In A History of All Nations, by J. H. Wright and others, 

vol. XI (Philadelphia and New York : [1905] ). 

Agostino de' Musi (c. 1490-c. 1540), called Veneziano, a native of Venice, was one of 
the leading Italian engravers of the sixteenth century. 

150 PAUL III AND HIS NEPHEWS, ALESSANDRO 
AND OTTAVIO FARNESE | titian, national museum, 

NAPLES 

W. L. : seated at table: to 1.; looking to r. 

Half-tone print : 6}4 x 5i4- PI. to The Catholic Encyclopedia, vol. XI (New 

York : (1911 ). 

The original was painted by Titian while on a visit to Rome in 1545-46. 

151 [Representation of a medallion with portrait of Paul III. Obverse] 
PAVLVS. III. PONT. MAX. AN. XVI. 

[Reverse] AN. lOBILAEO . M.D.L. || PETRO . APOST | 
PRIN. C. 

Bust : profile ; to r. 

Clipping. Line engr. : each 1% diam. 

The original appears to have been struck in 1549 for the jubilee year that Paul did 
not live to see. 



EDWARD SEYMOUR, DUKE OF SOMERSET 

C. 1506 — 22 January 1552 

Edward Seymour, Earl of Hertford and Duke of Somerset, uncle of 
Edward VI, was Protector of England from the death of Henry VHI 
until January, 1550, when he was deposed. Two years later he was 
put to death. 

152 Sherlock sculp. \ SEYMOUR Duke of SOMERSET 1551. 

Bust : to 1.; with hat and plume. 

Line engr. : oval, 3M x 2Ji; with border, 3H x 2%. PI. to Smollett's History 
of England (1757). 

The original, by Holbein, is at Syon House, Isleworth, Middlesex, the property of the 
Duke of Northumberland. William Sherlock (c. 173S-C. 1806) was an Irish painter 
and engraver. 

153 EDWARD SEYMOUR, DUKE OF SOMERSET | From a portrait 
by Holbein in the possession of the Duke of Northumberland, K.G. | 

Face p. 52 

Same portrait. H. L. 

Half-tone print : 1 x S]4. In the collection of Historical Portraits chosen by Emery 
Walker and published by the Clarendon Press, vol. I (1909). 



35 

154 Engraved by &. Freeman. | EDWARD SEYMOUR, DUKE 

OF SOMERSET. | OB. 1552. | from the original of hol- 

BEIN. IN THE COLLECTION OF | THE MOST NOBLE THE MAR- 
QUIS OF BATH. I London, Published April 1, 1829, by Harding &■ 
Lepard, Pall Mall East. 

H. L. : to 1.; in plumed hat and furred robe, with collar of the 
Garter. 

Stipple engr. : 4% x 3%. PI. to Portraits and Memoirs of the most illustrious 
personages of British History, by Edmund Lodge, 3rd éd., no. VI (London : 1829i. 

The original is probably not by Holbein. Samuel Freeman (1773-1857) was an 
English engraver. 

155 [In frame] EDOVARDVS SEIMORVS DVX 

SOMERSETENSIS COMES HERDT- 

FORDI/E âfC^ [In segment at bottom of frame] futura pt(E 
teritis [Under picture] Regia nee virtus, nee stirps te regia, 
Princeps \ Eripere inuidiae potuervnt fraudibus vnqtiam \ Nempe honoi 
sors praua premit, scriiatque malignos \ A B lud. 

Nearly H. L.: tor.; eyes directed to 1.; in plumed hat and furred 
robe, with George. 

Line engr.: oval, 5 x i%; with border, rect., 5% x 4J^. PI. to Hertaologia Anglica, 
by H [enry] H [oUand] (1620). 



APIANUS 

1495 — 21 April 1552 

Peter Bienewitz, who assumed the Latin name of Apianus, became 
professor of mathematics at the University of Ingolstadt in 1520. 
He was the author of several important geographical and astronomical 
works, including a map of the world, in 1520, showing America. 

156 APIANUS {from REUSNER'S Icônes. 1590, p. 175). 

H. L. : to 1.; with globe and compass. 

Print : 4 x 3J^. In Narrative and Critical History of America, by Justin Winsor, 

vol. II (Boston and New York : [1886] ). 

From a portrait in Icônes seu imagines vivorum litteris illustrium by Nicholas Reusner 
(Strasburg: 1587 and 1590), the illustrations in which are from woodcuts by Tobias 
Stimmer. 

157 APIANUS. 

[On face of print] PETRVS APIANVS BINVIT- 

ZIVS ASTROLOGVSII qvod coelos pandis, 

RADIO QVOD SIDERA PINGIS | GERMANVS MERITO 
DICERIS ARCHIMEDES. 

Bust : to r. 

Print, after an old cut : oval, 3^ x 3K ; with border, rect., SJi x 4Ji. In 
Winsor, loc. cit. 

SEBASTIAN MtWSTER 

1489 — 23 May 1552 
Sebastian IVIunster, geographer, mathematician and Hebraist, was 
born at Ingelheim in the Palatinate, but spent the later part of his 



36 

life as a teacher at Basle. He, like Apianus, was one of the founders of 
modern geography: his most important work, in this respect, was a 
Cosmographia universalis, published in 1544. 

158 MUNSTER. 

{On face of print] SEBASTIANUS MUNSTERUS COS- 
MOGRAPHUS I I Nascitur Ingelheimii \ Anno 1489. \ Obijl 
Basileae a^ 1552 \ Dimensus terras et summi sydera coeli: \ 
Edeham Hehraeos Historicosgz libros . X x 3 

Nearly H. L. : to 1.; with book, compass and hour-glass. 

Print : S% x 4}^, including title margin. In Narrative and Critical History of 
America, by Justin Winsor, vol. I (Boston and New York : 1889). 

This is from a portrait in Miinster's edition of Ptolemy, printed at Basle in 1552. 

159 SEBASTIEN MUNSTER. 

H. L. : to r. ; holding Hebrew scroll. 

Line engr. : 6% x 5M- In Pourlrails el vies des hommes illustres, by André Thevet 
(Paris : 1584). 

160 MUNSTER. 

[Title of original] SEBASTIANVS MVNSTERVS | 
Cosmographus. | | Sat linguœ fuerat fontes rnihi 
tradere sanctce: \ Scrihere sed mundi me iuuat historiam . \ 
M. D. LII. 

Nearly H. L. : to r.; with book. 
Print : 4 x 3%. In Winsor, loc. cit. 

This is a facsimile of a cut in Reusner's Icônes (Strasburg : 1590). 

FRANCIS XAVIER 

7 April 1506 — 2 December 1552 

François de Xavier, known in English as Francis Xavier, was born at 
the castle of Xavier, or Xavero, near Sanguesa in Navarre. He was 
one of the founders of the Society of Jesus, and its first and greatest 
missionary. In 1541 he sailed from Lisbon for the east, and the re- 
mainder of his life was spent in extraordinarily successful labours in 
India, the East Indies and Japan. He was canonized in 1622. 

161 Hinchiiff. I Francis Xavier. 

H. L. : to 1. 

Clipping. Line engr. : 4 x 2'J4- 



EDWARD VI 

12 October 1537 — 6 July 1553 

Edward VI, son of Henry VIII and Jane Seymour, succeeded to the 
throne of England January 28, 1547. 

162 Fig. 67. — Edward VI. as a child. Drawing by Hans Holbein the 

Younger. (In the Windsor | Collection.) 



37 

Bust. 

Print : about 3 x 23^. In text of A History of Alt .Wations. by J. H. Wright 
and others, vol. XI (Philadelphia and New York : [1905) ). 

163 EDWARD VI | From the portrait in the National Portrait Gallery, 
painted under the influence of Holbein | Face p. 50 

H. L.: to 1.; head in profile; r. hand holding rose. 

Half-tone print : 7H x 5%. In the collection of Historical Portraits chosen by Emery 

Walker and published by the Clarendon Press, vol. I (1909). 

This painting resembles a drawing at Windsor which is attributed, probably 
erroneously, to Holbein. 

164 Copyright 1901 by C. Barrie & Son 

[On guard] ÉfiS ^riltce of îlaleô | By Holbein 

Bust : to 1.; with plumed hat and ermine-trimmed surcoat. 

Photo-process print, in tint : 3% x IJi- Two others on same plate. PI. tc 
Lives of the Queens of England, by Agnes Strickland, Imperial Edition, vol. VI 
(Philadelphia : [1902] ). 

This portrait is probably later than Holbein's death. 

165 Copyright 1901 by G. Barrie âr Son 

[On guard] battel bateb 1550 | By Guilim Streetes 

Bust : to 1.; with cap. 

Photo-process print, in tint : i% x 2. Two others on same plate. PL to Agnes 

Strickland, loc. cit. 

Guillim, or William, Stretes, or Streetes, was a Dutch portrait painter of whose life 
little is known. He was in England at least from 1546 to 1556, and was employed 
at court under Edward VI and Mary. He painted several portraits of Edward, but 
their identity is not now certain. 

165 Copyright, 1902, by George Barrie &• Sons. 

[On guard] CïJtoarï! ^3 Confirming fjisf ifatfjcr'sf 0ift of 
Cïjriôt's! 1 î^oôpital to tïje Citp of ILonbon | After the 

Painting, erronously attributed to Holbein, \ now in Bridewell Hospital, 
London 

W. L. : seated on throne, to 1.; with crown, robe and sceptre; 

surrounded by group of figures. 

Colour half-tone print : 4 x 5H- PI- to Agnes Strickland, loc. cU. 

The event depicted took place in 1553. The painting, in the Bridewell Hospital, 
is attributed to Guillim Stretes. 

167 Engraved by H. T. Ryall. ] KING EDWARD THE SIXTH. | 

OB. 1553. I FROM THE ORIGINAL OF HOLBEIN. IN THE COLLEC- 
TION OF I THE RIGHT HONBLE tHE EARL OF EGRE- 
MONT. I London, Published April 1. 1830, by Harding 6* Lepard, Pall Mall 

East. 

Nearly W. L. : to 1.; with plumed hat, ermine-trimmed surcoat, 
collar of rubies, and the Garter; dagger in r. hand; throne in 
background, and landscape seen through window to r. 

Line and stipple engr. : 4% x 3%. PI. to Portraits and Memoirs of the moit 
illustrious personages of British History, by Edmund Lodge, 3rd éd., no. XVII 
(London : 1830). 

This portrait at Petworth resembles, but is not a replica of, another at Windsor. 
Both have been attributed, erroneously, to Holbein. Henry Thomas Ryall (1811- 
1867) was an English engraver of much skill. He was appointed historical engraver 
to the Queen. 



38 

168 Fig. 836. Portrait of King Edward VI | It shows 

the youthful king wearing a dagger of the "ear" pommel 
type I Collection : H. M. the King, Windsor Castle 

Similar portrait. No throne; window to 1. 

Half-tone print : 1 J4, x 4?^. In A Record of European Armour and Arms, by Sir Guy 
Francis Laking, vol. Ill (London : 1920). 

169 EDVARDVS SEXTVS ReX. I Delicium populi, et verae 
pietatis alumnus, \ Vt bona cimcta, diu viuere non licuit 

Portrait of similar type. Nearly T. Q. L.: to r.; r. hand on girdle. 

Niche behind. 

Line engr.: 5% x 4i^. PI. to Her(ùologia Anglica, by H [enry] H [oUand] (1620). 

170 Copyright 1901 by G. Barrie & Son 

[On guard] CbtDatb lcT3 aS S.ing I The so-called Mora Portrait 

W. L. : to 1.; with hat, embroidered coat, and sword; gloves in 
r. hand. 

Photo-process print, in tint : i}/2 x 2. Two others on same plate. PI. to 
Agnes Strickland, toe. cit. 

171 Granger sculp'. \ EDWARD VI. 

Bust : to 1.; with plumed hat, embroidered coat and collar of the 

Garter. 

Cl.pping. Stipple engr. : oval, SJ-g x 2j^. 

172 EDWARD I VI 

Same portrait. To r. In oval frame; title on panel beneath, with 
figure on either side. 

Clipping. Line engr. : oval, 3% x 2% ; with ornamental border, rect.. 6% x 4. 
Trimmed. 

173 EDWARD I VI 

Same picture. 

Clipping. Line engr. : oval, 2}4 x IM ; with ornamental border, rect., 3^ x 2H- 

Trimmed. 

174 EDW : VI. 

[On tablet] Viro | Spectatissimo \ d"? GeORGIO | IeFFERYS \ Equili 
Auralo, I è consilijs Dni Regis | in Lege erudito, ac \ Civitatis London \ ad 
Lege Servienti \ Sigillum hoc \ FID. FS. 

[Obverse of seal : inscription in border] KDWARD . SKXT . 

DEI. GRA. AGUE. FRANCIE. ET HIBER- 
NIE. REX. FIDEL DEFESOR. ET. IN. 
TER^'A. ECCLESIE. _ÀGLICANE. ET. 
HIBERNICE. SVPREMV. CAPVT. 

[Reverse : the same inscription, with modifications in lettering.] 

Obverse. W. L. : seated on throne, with crown, sceptre, globe, and 
robes of state. Reverse. W. L. : on horseback; tor.; in armour, 
with brandished sword, diadem, hound. 



39 

Line engr. : each 3J4 diam.; with border, 4J^. PI. to A Genealogical History of 
the Kings and Queens of England and Monarchs of Great Britain, by Francis 
Sandford and Samuel Stebbing (London : 1707). 

This engraving of the seal of Edward VI is dedicated by Sandford to Sir George 
Jeffreys (1648-1689), afterwards lord chief justice and lord chancellor, the presiding 
judge of the "bloody assizes". 

POPE MARCELLUS II 

6 May 1501 — 30 April 1555 

Marcello Cervini degli Spannochi, a native of Montepulciano in Tus- 
cany, was created cardinal in 1539, and elected Pope, in succession to 
Julius III, on April 9, 1555. The Globe of Ulpius, constructed in 
1542, was dedicated to him. 

175 MARCELLO IL CERVINI SOMMO PONTEFICE I 
ORIGINARIO DI MONTE PULCIANO. E NOBILE 
I SENESE. SOGGETTO DI SOMMA PRUDENZA, \ 
DOTTRINA, E BONTÀ FREGIATO. | Nacque il di 6. 

Maggio MDI . niori dopo 22. giorni di Ponti- \ ficato nel di pmo. 
Maggio MDLV. I Dedicato al merito Singolare deW Ilhno : e Rmo: 
Monsignore Alessan-\dro De Conti Cervini Patrizio Senese, Conte 
del Vivo Arctvescovo \ di Siena S S, e Agnato del Sud^ Pontefice.\ 
Priso da un Qiiadro esistente presso gV Illmi. Sigg^'J' Conti Cervini 
di Siena. \ Gael. Vascelltni del. e scol. 

H. L. : to r. ; book in r. hand, another open on table. Coat of 
arms in title margin. 

Line print : 4J^ x 4}^. PI. to The Magazine of American History, vol. Ill 
(1S79). 

Gaetano Vasceilini (b. c. 1745) was an Italian engraver who etched several original 
portraits of distinguished Florentines. 

ORONGE FINE 

1494 — 6 October 1555 

Oronce Fine, or Orontius Finaeus, a native of Briançon, was appointed 
by Francis I lecturer in mathematics at the royal college in Paris. 
We have from him a map of the world executed in 1531, and a copy of 
another, probably of 1536, both of which are of considerable impor- 
tance in the history of American cartography. 

176 ORONCE FINE. 

H. L. : to 1. 

Line ener. : 6% x 5J^. In Portraits et vies des hommes illustres, by André 
Thevet (Paris : 1584). 

IGNATIUS LOYOLA 

24 December? 1491 — 31 July 1556 

Inigo, son of Beltran Yaiiez de Onez y Loyola, the founder of the 
Jesuit Order, was born at the castle of Loyola in Guipuscoa, Spain. 



40 

In 1534, while at the University of Paris, he and six companions 
associated themselves together for religious purposes; in 1540 the 
"Society of Jesus" was constituted by papal bull; and in 1541 the new 
order was organised and Ignatius elected the first general. In 1622 
he was canonized. 

177 ST. IGNATIUS LOYOLA — TITIAN | collection of 

EARL SPENCER, ALTHORP HOUSE, NORTHAMPTON. ENGLAND 

H. L. : to 1.; looking to front. 

Half-tone print : 7>^ x 5J^. PI. to The Catholic Encyclopedia, vol. VH (New 
York : [1910] ). 

178 Copyright, 1S97, hy Little, Brown, b" C°. Goupil &• C°. Paris 

[On guard] Ignatius Loyola. 

[In list of Illustrations] From an engraving by J. Sadeler, in the Biblio- 
thèque Nationale. 

H. L. : to 1.; head in profile; hands clasped; before crucifix. 
Photogravure from line engr. : 4% x 3%. PI. to The Jesuits in North America, 
by Francis Parkman, Champlain Edition, vol. I (Boston : 1897). 

Jan Sadeler (1550-1600) was an engraver, a native of Brussels, who worked in later 
life in Germany and Italy. 

179 Engraved by w. Hall. | LOYOLA. | From a Print by Bolswert, 
after \ a Picture by Rubens. | Under the Superintendence of the 
Society for the Diffusion of Useful Knowledge. | London, Published by 
Charles Knight Ludgate Street. 

Nearly H. L. : to r.; in vestments; in r. hand book with 

inscription "AD IMAIOREIVI DEI GLORIAIVI". 

Stipple engr. : A% x i%. PI. to The Gallery of Portraits, vol. VII (London : 
1837). 

This is from a print by Scheltius à Bolswert (1586-1659), after a painting by 
the great Flemish artist, Peter Paul Rubens (1577-1640). 

ANNE OF CLEVES 
22 September 1515 — 28 July 1557 

Anne, fourth Queen of Henry VIII, was the daughter of John, Duke of 
Cleves. She was married to Henry January 6, 1540. On July 9 of 
the same year the marriage was declared by Convocation to be void. 

180 ANNE OF CLEVES | From the portrait in St. John's College, Oxford 

T. Q. L.: to 1.; holding carnations in r. hand. 

Half-tone print : 5)4 x. 3>%. In the collection of Historical Portraits chosen by 

Emery Walker and published by the Clarendon Press, vol. I (1909). 

JACQUES CARTIER 

1491 ? — 1 September 1557 

Jacques Cartier, a mariner and prominent citizen of St. Malo, in 
Brittany, made three, or four, voyages of discovery under the direction 
of the French court: in 1534, when he explored the Gulf of St. Law- 




Jacques (Cartier 

at hochelaga 

Lithograph hy 7v(. Sarony 



41 

rence; in 1535-6, when he went up the St. Lawrence river as far as 
Hochelaga, now Montreal; in 1541-2, when he attempted to establish 
a colony at Cap Rouge, above Quebec; and, it is barely possible, 
in 1543, when he may have brought home the Sieur de Roberval 
and the second detachment of that colony. 

181 4 53 I JACQUES CARTIER 

[Stamp] BIBLIOTHÈQUE de la ville de S: MALO 

W. L. : looking to r.; furred robe, slashed sleeves and shoes, and 
plumed hat; gloves in 1. hand. 
Photo. : about 6x4. 

182 4 53 I JACQUES CARTIER H Bibliothèque de 
S^ Malo cole : tiroir 13 

[Signed] H. B. 

Same portrait. 

Pen and ink wash drawing : about 6 x 3H- 

This is a copy, made by Henri Beau, a Canadian artist at present residing in 
Paris. The original may be derived from the Clugny print. 

183 XViE SIECLE Règne de Francois 1^^ \ 143 \\ L. M. \ 
JACQUES CARTIER 1 Navigateur 

Same portrait. 

Etching, coloured : 6 x i%, ; with border, (>% x 3%. PI. to Couslumes Français 
depuis demis jusqu'à nos jours, by M. de Clugny, vol. II (Paris : 1836). There is a 
reproduction in colours in The Voyages of Jacques Cartier, by H. P. Biggar {Publica- 
tions of the Public Archives of Canada, No. 11) (Ottawa : 1924). 
This print, the property of Dr. A. G. Doughty, is on loan to the Public Archives. 

"L. M." would appear to be Jean Marie Raphaël Leopold Massard (b. 1812), a 
native of Crouy-sur-Ourcq, who drew and engraved, apparently chiefly, or entirely, 
from his own imagination, many of the figures in Clugny 's work. See Dr. Biggar 's 
article in The Canadian Historical Review, June, 1925. 

184 Jacques Cartier. — D'après un ancien dessin à la plume conservé 
à la Bibliothèque impériale. 

Bust : to r. 

Woodcut : about 3Ji x 3}/s- In text of Voyageurs anciens et modernes, by 
Edouard Charton, vol. IV (Paris : 1857). 

In a footnote Charton explains that this cut is not taken directly from the pen-and- 
ink drawing in the Bibliothèque impériale, of which he himself could find no trace, 
but from the painting by Riss at St. Malo, which was based on that drawing. His 
knowledge of the drawing, and, probably, his belief that the Riss painting was derived 
from it, were due to Charles Cunat, the historian of St. Malo. François Riss (1804- 
c. 1866) was a painter, born in Moscow, who practised in France. His portrait of 
Cartier, now in the Hôtel de Ville, St. Malo, was executed, it is stated by Parkman, 
in 1839. Possibly the pen-and-ink portrait which served, according to Charton, as 
his model was the same as that which is reproduced in the Relation originale du voyage 
de Jacques Cartier, by Michelant and Ramé (Paris: 1867), as after an original in the 
prints department of the Bibliothèque impériale. 

185 JACQUES CARTIER 

Same portait. Head : to 1, 

Woodcut : 15^8 diam.; with border, \%. Medallion on title- pace of Relation 
originale du vo\age de Jacques Cartier au Canada en 1534, by H. Michelant and 
A. Ramé (Paris : 1867). 



42 

186 Copyright, 1897, by Little, Brown, &• C? Goupil &• C<? Paris. 

[On guard] Jacques Cartier, [in list of Illustrations] From the 
original painting by F. Riss, in the Town Hall of St. Malo, France. 

Same portrait. Nearly T. Q. L. : to r. ; on shipboard; with cap, 
sword and dagger; 1. hand to chin, r. hand on belt. 

Photoeravure : Sf^^ x 3Ji. PI. to Pioneers of France in the New World, by Francis 
Parkman. Champlain Kaition. vol. II (Boston : 18971. Another copy in The 
History of North America, edited hy Guy Carleton Lee, Univeisity Edition, vol. XI 
(Canada and British North America, by W. Bennett Munro) (Philadelphia : [1905] ). 

187 Lith. par F. Davignan d'après le dessin de Th'^ Hamel. | 

Jacques Cartier | 

Natif de S{ Malo, (France) Native of S{ Malo, (France) j 

Découvre le Canada en Discovers Canada in 
1534-5 1534-5. | 

U Original existe à 5^. Malo \ 
Imp. par L. Nagel N.Y. | 

Entered according to Act of Congress in the year 18-18, by Théophile Hamel in the 
Clerk's office of the district court of the Southern dist. of N. Y. \ Entered 
according to Act of the Provincial Legislature, in the year 1848, 
by T. Hamel, in the Office of the Registrar of the Province of Canada. 

Same picture. 
Lith. : 17 X 12H- 

Théophile Hamel (8 November 1817-24 December 1870) was a native of Sainte-Fo}', 
and received his early education in art at Quebec. From 1843 to 1846 he studied in 
Europe. His later life was spent, for the most part, in Canada: he executed a large 
number of works, especially portraits. 

188 5. Freeman, sc. \ JACQUES CARTIER, | The Discoverer of Canada 
1534-5. I FROM A DRAWING BY TH. HAMEL, AFTER THE ORIGINAL 
PICTURE AT sT MALO. ] London : Richard Bentley, 1849, 

Same picture. 

Line and stipple ensr. : 4% x Z}^ ; with border, 4Jé x 3J|. PI. to The Conquest 
(f Canada, by the author of "Hochelaga", 2nd éd.. vol. n (Lon-^'on : 1850K 
Another copy : pi. to .1 Memoir of Jacques Cartier, by James Phinney Baxter (New 
York and London : 1906). 

189 [Entry on face of original] T. H. p" 1860. 

Same picture. 

Photo, from painting : 7H x 5^. 

Photograph of a copy in oils of the Riss picture, executed by Hamel in 1860, which 
now hangs in the Speaker's Chambers in the House of Commons, Ottawa. 

190 Rebel fc. P. Dien, ImpI r. Hautefeuille, 32, à Paris. | 

JACQUES CARTIER | Né à Saint-Malo le 31 
Décembre 1494 | Envoyé par François 1er ^ la 
découverte du Canada. 

Same picture. 

Line engr. : ^% x 4M. PL to Histoire de la Colonie Française en Canada, [by 
the Abbé Faillon], vol. I (\'illemarie : 1865). 



43 

191 J. A. 0-Neil. N.Y. I JACQUES CARTIER. | From the painting by Th. 
Hamel after the original preserved at St. Mala. 

Same picture. 

Line and stipple ener. : 4>é x 3}^ ; with border, 4H x 3Ji. PI. to History and 
General Description of New France, by Charlevoix, translated by John Gilmary 
Shea, vol. I (New York : 1866). 

192 Another copy. No lettering. 

193 Another copy. Same title, with addition: Copyright by John G. Shea, 

1878. 

PI. to First Establishment of the Faith in New France, by LeClercq, translated bv 
J. G. Shea, vol. I (New York : 1881). 

194 Photogravure, Annan, Glaspow. 

[On guard] JACQUES CARTIER | From the painting at St m alo 

Same picture. 

Photogravure : 5}^ x 4^- PI- to Canada and its Provinces, vol. I (Toronto : 1913). 

There are in the collection several other prints reproducing the Riss, or Riss-Hamel, 
portrait. 

195 Rouargue frères del. et se. j "^M^lXti Cartier. 

W. L. : looking to 1.; speaking trumpet in r. hand, telescope in 
1. hand. Coat of arms and supports in top margin, coloured. 
Line enpr. : SVs x 3J-^ ; with border, 6J^ x 4j^. PI. to Les Navigateurs français, 
by Léon Guérin (Paris : 1846). 

196 JACQUES CARTIER 
Head : to r. 

Woodcut : \% diam.; with border, \%. Medallion on title page of Note sur 
le manoir de Jacques Cartier, by Alfred Ramé, published with Relation originale du 
voyage de Jacques Cartier au Canada en 1534, by H. Michelant and A. Ramé 
(Paiis : 1867). There ate copies in Jacqiies Cartier and his four voyages to Canada, 
by Hiram B. Stephens (Montreal : [1890] ), and The Mariner of St. Malo, by 
Stepi.en Leacock (Toronto : 1914). 

It is stated in the foreword to the 1867 publication that the original of this portrait 
was in the print department of the Bibliothèque impériale, now the Bibliothèque 
nationale. Several searches made since then have failed to reveal any trace of 
such a portrait. It is possible that it had already disappeared before 1867, if it be 
the drawing to which Charton refers in 1857 as that on which the Riss portrait was 
based. 

197 MEDAILLON EN BOÏS DE 1704 | (Trouvé au Cap-des- 
Rosiers, Canada, novembre 1908) | qu'on croit représenter Jacques 
Cartier | Propriété de John M. Clarke, Albany, N. Y. 

Bust : profile; to 1. 

Half-tone print : 4}4 diam.; in Revue Canadienne, nouvelle série, vol. V (1910). 

The original is a wooden medallion, twenty inches in diameter, bearing the carved 
image of a man's head, the features of which have some resemblance to those of the 
Riss painting and the Ramé print of Jacques Cartier. On the reverse are carved the 
letters "J C" and the figures "1704". The medallion was found in 1908, in the walled- 
up window of a very old house at the cove of Cap-des-Rosiers, on the Gaspé coast. 
It is believed to have been the stern-shield of a vessel which may have been wrecked 
on this coast. 

198 T.A STATUE DE JACQUES CARTIER | QUARTIER SAINT-HENRI, 
 MONTRÉAL 



44 
Statue. W. L.: on high pedestal, in fountain. 

Half-tone print : 6}^ x 4. PI. to Les Monuments commémoratifs de la province de 
Québec, vol. I (Quebec : 1923). There is another view in Montreal 1534-1914, by 
William Henry Atherton, vol. II (Montreal, etc.: 1914). 

199 Statue in memory oj Jacques Cartier, erected in Montreal. 

Same statue. 

Clipping. Half-tone print : 8Ji x f>%. 

This statue, the work of J. Arthur Vincent, is in Place St. Henri, Montreal, where it 
was unveiled June 14, 1893. 

200 THE STATUE OF JACQUES CARTIER RECENTLY 

UNVEILED I AT ST. MALO. | The work of Georges 

Bareau. 

[On mount, in ink] 1905 

W. L. : to r.; looking to 1. 
Clipping. Half-tone print : 6>^ x 4J^. 



SEBASTIAN CABOT 

1476 ? — 1557 ? 

Sebastian, son of John Cabot, was born at Bristol, or, possibly, at 
Venice. He may have sailed with his father in one or both of his 
expeditions, in 1497 and 1498. In 1512 he entered the service of 
Spain, and in 1518 was appointed pilot major. About 1548 he re- 
turned to England, and at the incorporation of the company of Mer- 
chant Adventurers of London, in 1551, was named governor for life. 
Of numerous maps executed by him only one survives, which, in a 
published copy of 1544, forms an important source for the history of 
discovery in Canada. 

201 Engraved by S. Rawle. | SEBASTIAN CABOT. | FROM THE 

ORIGINAL IN THE POSSESSION OF CHARLES JOS^ 
HARFORD ESQ,^ 

[On plate in upper left hand corner] EFFIGIES SEBASTIANI 

CABOTI I ANGLI FILII lOHANIS CABOTI VENE | TI MILITIS AVRATI 
PRIMI INVËT 1 ORIS TERRAE NOVAE SUB HERICO VII ANGL | lAE 
REGE I Legend in upper right hand corner] SPES. MEA. IN. 
DEO. EST. 

H. L. : to 1.; with cap, furred robe, globe, compass, etc. 

Photo-process reproduction of line engr. : 5J^ x 4?^. PI. to The Remarkable Life, 
Adventures and Discoveries of Sebastian Cabot, by J. F. NichoUs (London : 1869). 

The original of this engraving was discovered at Slains Castle, Scotland, by Charles 
J. Harford, of Bristol, in 1792, and some years later was purchased by him. A por- 
trait bearing a similar inscription was in the King's private gallery at Whitehall in 
the time of James I, and that at Slains was probably either the same picture or a copy. 
Soon after being engraved by Rawle it was purchased by Richard Biddle, of Pittsburg, 
Pennsylvania. There it was destroyed by fire in 1845. A copy in oils had previously 
been made by an artist named Chapman for the Massachusetts Historical Society, 
and another for the New York Historical Society. The plate by Samuel Rawle, 
an engraver and draughtsman who practised in London early in the nineteenth 
century, was originally published in Seyers's Memoirs of Bristol (1821-3). 



45 

202 Copyright 1903 by G. Barrie & Sona 

[On guard] SEBASTIAN CABOT | Photogravure front the 
painting by Chapman after the origi-\nal attributed to 
Holbein, now in possession of the Historical \ Society of 
Massachusetts. 

Same picture. 

Photos-ravure : 5 x 4. PI. to The History o} North America, edited by Guy 

Carleton Lee, University Edition, vol. I (Philadelphia : 11903] ). 

There are several other prints of this picture in the collection. 

CHARLES V 

24 February 1500 — 21 September 1558 

Charles was the son of Philip of Burgundy and of Joanna daughter 
of Ferdinand and Isabella of Spain. Through his father, he 
inherited Burgundy, the Netherlands, and the Habsburg dominions 
in southern Germany; through his mother — who, although she 
lived almost until his own retirement, was incapacitated by mental 
weakness from ruling— Spain and the Spanish territories in Italy and 
America. In 1519 he was elected emperor. In 1555-56 he resigned 
his dignities and retired to private life at Yuste in Spain. His reign 
saw the establishment of Spanish power on the mainland of America, 
Magellan's expedition to the east, the voyage of Stephen Gomez to 
the coasts of Canada in 1524-25, and some measures taken to check the 
French attempts at colonisation under Cartier and Roberval. 

203 Fig. 68.— Emperor Charles V. at the age of thirty. Facsimile of the 
engraving by Bartel | Beham (1496-1540). 

[Title of original] PROGENIES . DIVVM . QVINTVS . 

SIC . CAROLVS . ILLE [ IMPERII . CAESAR . 

LVMINA . ET . ORA . TVLIT | AET . SVAE . 

XXXI I Ann . M. D. XXXÏ [signature] BB 

Bust : to r. 

Print : 5M x 4H. In A History of All Nations, by J. H. Wright and others, vol. XI 

(Philadelphia and New York : [1905] ). 

Barthel Beham (1502 - c. 1540), a painter and engraver, the brother of the engraver 
Hans Sebald Beham, was a native of Nuremberg, but spent a large part of his life m 
Italy. 

204 [In frame] KARVLVS ROEMISCHER KAISER KOENIG ZV 
HISPANIEN NEAPOLIS ARRAGON CICILIE GRANTE ZC 

Bust : to r.; head in profile; wearing diadem. 

Print : 2J1^ diam.; with frame. 2'/i- In Narrative and Critical History of America. 
by Justin NA'insor, vol. II (Boston and New York : [1886] ); forms part of facsimile 
of title-page of De insulis nuper inventis Ferdinandi Cortesii ad Carolum V. Rom. 
Imperatorem Narrationes (Cologne : 1532.). 



46 

205 CHARLES V. 

[Title of original] El Invictissimo Emperador CARLOS | 
Quinto Rey natural de Casiilla \ y de Leon etc. 

Nearly H. L.: to I.; in armour; sea in background. 
Print : A% x 3J^. In Justin VVinsor, loc. cit. 

This is a facsimile of an engraving in Herrera's Hisloria general de los hechos de los 
Castellanos, part III. This, and the following portraits of the same type, seem to be 
based on a painting executed by Titian about 1536. 

206 Titian pinx. c. Cook sc. \ The EmperOT \ CHARLES V. I London : 

Published by R. Bentley, & Son | 1887. 

Same portrait. T. Q. L.: to 1.; sword in r. hand; helmet in upper r. 

hand corner. 

Line engr.: i^ x 3H- 

207 [Title in ornamental border beneath portrait] CHARLES | V 

EMPEROR OF I GERMANY 



Same portrait. Bust : to r.; in oval frame, with a Christian and a 
Moslem officer and banner on eithrr side below. 

Clippine. Line enpr.: oval, 4 X 3>^ ; with border, rect., 7 x 4J^. Trimmed. There 
is a print from another engraving of this portrait in Magazine of American History, 
vol. XXVI (1891). 



208 [On guard] Equestrian portrait of Charles V | (From the painting 

by Titian) 

W. L.: on horse-back; to r.; in armour; lance in r. hand. 

Collotype : 4% x 3}4. PI. to The Complete Works of William H. Prescott : History 
of the Reign of the Emperor Charles the Fifth, vol. II (New York : the Kelmscott 
Society) . 

There are other prints of this picture in the collection. It represents Charles V 
at the battle of Miihlberg, April 24, 1547. 

209 PLATE VIII. | | Emperor Charles V. | Painting by Titian, 

1548. (Munich.) | History of All Nations, Vol. XL, page 194. [Date on 
face of picture] MDXLVIII. 

W. L.: seated; to r.; landscape in r. distança. 

Print : 1% x 4. In J. H. Wright and others, loc. cit. There is a half-tone print of 
this picture in The Catholic Encyclopedia, vol. Ill (New York : [1908] ). 

210 [On guard] Charles V I (From painting by Titian) 

[On the face of the picture there is a Latin inscription recording the 
dates of his birth and death.] 

W. L.; to r. ; wearing sword. 

Collotype : 5}4 x 2%. PI. to The Complete Works of William H. Prescott. op. cit., 
vol. I. 

211 Engraved by w. Hoii. \ CHARLES V. | From the Original by 
Holbein, in the Private | Collection of the King of the French. 

I Under the Superintendance of the Society for the Diffusion of 
Useful Knowledge. | London, Published by Charles Knight, Ludgate Street. 



47 

H. L.: to r.; wearing low cap, collar of the Golden Fleece, and 
figured coat. 

Stipple engr.: 4J^ x 4; with margin, 5}ixA'A. PI. to The Gallery o Portraits. 
vol. IV (London : 1835). 

212 CHARLES V. 

Nearly H. L.: to 1. 

Print : A% x i]4,- In. Justin Winsor, loc. cit. 

This is a facsimile of a woodcut representation of Charles V which appeared in Jovius' 
Elogia Virorum (Basle: 1575). 

213 CHARLES LE QVINT, EMPEREVR. 

H. L.: to r. ; in armour, with sword and globe. 

Lineeni;r.: 6^ x 5J^. In Pourtraits et vies des hommes illustres, by André Thevet 

(Paris : 1584;. 

214 CHARLES V. AT SAN YUSTE | Albrecht de Vriendt. 

W. L.: seated; to r. ; surrounded by group of figures. 

Half-tone print : 3}i x 5"^. PI. to The Complete Works of William H. Prescolt, op. 

cit., vol. II. 

Aelbert de Vriendt (1843-1900), a native of Ghent, was especially well known for his 
historical paintings, of which this is one of the best. 



MARY I 

18 February 1516 — 17 November 1558 

Mary, daughter of Henry VIII and Catherine of Aragon, succeeded 
to the throne of England in 1553, on the death of Edward VI, and in 
1554 married Phihp of Spain. 

215 MARY I I From the portrait by Joannes Corvus in the National 
Portrait Gallery | Face p. 60 [On original) ANNO DNI 1544 | 

LADI mari DOVGHTER to I THE MOST 
VERTVOVS PRINCE | KINGE HENRI THE 
EIGHT I THE AGE OF XXVIII YERES 

More than H. L.: face directed to 1.; wearing French hood, with 
pearls; hands folded. 

Half-tone print : 6% x 5l^i. In the collection of Historical Portraits chosen by 
Emery VValker and published by the Clarendon Press, vol. I (1909). 

Joannes Corvus {fl. 1512-1544) was an artist of whom little is known. He has 
been identified with a certain Jan Rave, a native of Bruges. 

216 Engraved by H. T. Ryall. | QUEEN MARY. | OB. 1558. | FROM 
THE ORIGINAL OF HOLBEIN, IN THE COLLECTION OF | THE 
MOST NOBLE THE MARQUIS OF EXETER. | London. Published 
April 1, 1831, by Harding &• Lepard, Pall Mall East. 

T. Q. L.: to 1.; in fur-trimmed dress; holding locket in both hands. 
Stipple and line enpr.: 4% x 3%. PI. to Portraits and Memoirs of the most illustrious 
personages of British History, by Edmund Lodge, 3rd éd., no. XXIX (London : 1831). 

The original is at Burghley House, near Stamford, Northamptonshire. It was 
painted before Mary's accession to the throne, but the attribution to Holbein is 
doubtful. 



48 

217 MARY TUDOR, QUEEN OF ENGLAND | antonio 

MORO, THE PRADO, MADRID 

Nearly W. L.: seated in arm-chair; to 1.; rose in r. hand; gloves in 1. 

Half-tone print : 7H x 5M. PI. to Tke Catholic Encyclopedia, vol. IX (New York : 
[1910]). 

This portrait dates from 1554, before the Queen's marriage. Antonis Mor had been 
sent to England by Philip specially to paint this picture. 

218 LUCAS DE HEERE | | MARY TUDOR 

H. L.: head slightly to 1.; looking to front; rose in r. hand, gloves 
in 1. 

Half-tone print : 6% x 5. PI. to Bryan's Dictionary of Painters and Engravers, new 
ed. by G. C. Williamson, vol. II (London : 1919). 

Lucas de Heere (1534-1584) was a native of Ghent who worked in the Low Countries, 
France, and England. He was in England in 1554 — when he painted this portrait of 
Queen Mary, the original of which is in the collection of the Society of Antiquaries, 
London — and also from 1567 to 1577. 

219 VI IL FRANCIS DELARAM. | Portrait of Queen 
Mary. [Original title] The mightie Princesse MARIE 
by The \ Grace of God Queene of England \ France 

and Ireland Etc. \ Fran: Delaram sculp. Compton Holland excud: 

T. Q. L.: to r.; r. hand, holding gloves, on table; 1. hand holding 
paper with title "THE Suplicatio of Tomas Hongar." Royal arms in 
the title margin. 

Reproduction of line ensr.: 6% (with title, 1%) x 4 Je. PI. in Reproductions of Prints 
in the British Museum, New Series, Part IX (1900). 

Francis Delaram (1590-1627 ?) was an English engraver, of the school of Crispin 
van de Passe, who was noted for his portrait plates. 

220 [On guard] ilflarj» CubOt | Shortly before her marriage to 
Philip II of Spain 

Nearly H. L.: to 1.; in dress trimmed with fur and jewels. 

Photo-process print after line and stipple ener.; 4%x3}4- PI- to Lives of the 
Queens of England, hy Agnes Strickland, Imperial Edition, vol. VII (Philadelphia: 
[1902] ). There is a print of a similar portrait in Magazine of American History, vol. 
XXVI (1891). 



221 [On pedestal] Queen MARY. I. 



Same portrait. Bust : to r. In oval frame, on pedestal, with 

ornaments. 

Clipping. Line engr. : oval, 3}i x 2Ji; with border, rect., 6H x ^H- Trimmed. 

These portraits are of the same type as that engraved^by Delaram, and all probably 
go back to the same painting. 

222 J. Chapman sculpstt. \ QUEEN MARY. | Published as Ike Act directs 

Feb. 1. 1800. 

Bust : head turned to r. In title margin is inset of female figure 

holding cross and tiara. 

Clipping. Stipple engr.: oval, 4% x 3%. 

John Chapman was an engraver who worked in London from about 1770 to about 
1816. 



49 

HENRY II 

31 March 1519 — 10 July 1559 

Henry, son of Francis I of France, succeeded to the throne in 1547. 
In 1533 he had married Catherine de' Medici. 

223 Fig. 117. — Hej ry II., King of France. Reduced facsimile of the 
engraving by Etienne de | Laulne (1510-1595). 

[Original title] HENRICVS H. GALLIARVM REX 

More than H. L.: to r.; in armour; r. fore-arm resting on helmet. In 

frame. 

Print : 4% x 3^; with frame, about 6% x 4}4- In A History of All Nations, by J. 

H. Wright and others, vol. XI (Philadelphia and New York : [1905] ). 

Etienne Delaune (1518-1595), a native of Orleans or Paris, was an engraver and a 
designer of goldsmith's work who passed the greater part of his life at Strassburg. 

224 HENRY, II. DV NOM, ROY DE 
FRANCE. 

Same portrait, slightly modified. To 1. 

Lineeti'jr.: 6% x 5%. In PouHraits et vies des hommes illustres, by André Thevet 

(Paris : 1584). 

225 Maurin | /. Uth. dc Dclpcch. \ HENRY II. | Roi dc Francc. 

Bust : to r.; with plumed cap and embroidered collar. 

Lith.: about 10 x 9J^. PI. to Iconographie Française, by Madame Delpech, vol. I 

(Paris : 1840). 



POPE PAUL IV 

28 June 1476 — 18 August 1559 

Giovanni Pietro Carafïa, member of a noble Neapolitan family, served 
as papal envoy in England and in Spain. In 1536 he was created 
cardinal, and on May 23, 1555, was elected Pope, succeeding 
Julius HI. 

226 Fig. 108 — Pope Paul IV., Caraffa. Reduced facsimile of the 
engraving by Nicolas Beatri- ] zet (about 1515-1560). 

[Original title] DOMINVS MIHI ADIVTOR | PAVLO IIH I 

P. O. M I JET. ANNO LXXXI | PONTIFICATVS | 

AVTEM I ANNO HI | romae ood lviii .NB. 

Bust : to r.; in clo^k and hood; oval, in architectural frame. 

Print : oval, 3% x 2J^; with frame, irregular rect., 6 x 4%. In A History of All 

Nations, by J. H. Wright and others, vol. XI (Philadelphia and New York : [1905] ), 

Nicolas Beatrizet (c. 1520-1560+) was a French engraver who worked at Rome undel"^. 
the direction of Michel Angelo. 



50 

MARY OF LORRAINE 

22 November 1515 — 11 June 1560 

Mary, daughter of Claude, Due de Guise, was married to James V 
of Scotland in 1538. In 1554 she became regent of Scotland, acting 
for her daughter, Mary, Queen of Scots. 

227 Swan EUctrie Engraoing c? | Mcrie dc Guisc-Lorraine. I Queen 
of Scotland. | From the painting attributed to Clouet in the National 
Portrait Gallery. 

T. Q. L.: slightly to 1.; gloves in r. hand. 

Photo-process print : 5H X 4. P\. to The Anglo-Saxon Review, vo]. Ill, Dec, 1899. 
There is a half-tone print of this picture in the collection of Historical Portraits chosen 
by Emery Walker and published by the Clarendon Press, vol. I (1909). 

Neither the identification of this portrait nor its attribution to Clouet is quite certain. 

FRANCIS II 

19 January 1544 — 5 December 1560 

Francis, eldest son of Henry II of France and Catherine de' Medici, 
ascended the throne July 10, 1559. He had married Mary Stuart, 
Queen of Scots, April 25, 1558. 

228 Fig. 118. — Francis II., King of France. Reduced facsimile of a 
contemporary engraving | issued by Moncornet. 

[Original title] LE TRES CHRESTIEN FRANCOIS II DE | CE NOM 
ROY DE France et décosse. | Moncornet excudit 

Bust : to 1.; with neck-ruff and plumed hat. Coat of arms and laurel 
wreath in upper corners, outside oval frame. 

Print : oval, 3% x 2^. In A History of All Nations, by J. H. Wright and other*, 
vol. XI (Philadelphia and New York : [1905] ). 

229 ZË Belliard i. Uih. de Ddpech. \ FRANÇOIS II. | 
Tiré de la Bibliothèque S,, Genevieve. 

Bust : to 1., looking to r.; with plumed and jewelled cap, neck-ruff 
and furred coat. 

Lith. : about 9 x SJ^. PI. to Iconographie Française, by Madame Delpech, vol. I 
(Paris : 1840). 



JOHN CALVIN 

10 July 1509 — 27 May 1564 

John Calvin was a native of Noyon in Picardy who became the chief 
exponent and organiser of the reformed religion in France and Switzer- 
land. From 1536 to 1538, and from 1541 to his death, he resided at 
Geneva, but he remained the spiritual leader of the Huguenots of 
France. It was with his approval that the first attempts were made at 
Huguenot colonisation in America. 



51 

230 Fig. 110. — Portrait of lohn Calvin, in 1562. Facsimile of an engraving 
by René Boivin | (1530-1598). 

[Original title] PROMPTE ET SINCERE. I I 

lOHANNES. CALVINVS. | ANNO. iETATIS. 

53. I [Monograph.] 

Bust : profile; to 1. 

Print : 6}i x 4}4. including title margins. In A History of All Nations, by J. H. 

Wright and others, vol. XI (Philadelphia and New York : [1905] ). 

René Boivin (c. 1530-1598?) was a French draughtsman and line-engraver. 

231 I. Calvin. 

[In list of Illustrations] From Beza's Icônes virorum doctrina et pietate illuslrium, 
published in 1580. 

Same portrait, modified. 

Print : oval, 3J^ x 2j^; with ornamental frame, irregular rect., 5Ji x 4^. Pi. to 

Gaspard de Coltgny, by A. W. Whitehead (London : [19041 )• 

232 Title missing. 

Same portrait, modified. 

Clipping. Line engr.: oval, 3 x 2M- Trimmed. 

233 Engraved by T. Wooinoih. j CALVIN. | Ftom a Print cTigraved 
by C. Danf^ertz. \ Under the Superintendance of the Society for the 
Difïusion of Useful Knowledge. | London, Published by Charles Knight, 
Ludgate Street. 

Bust : to r.; looking upwards; with cap and ear-laps, and furred 
robe. 

Stipple engr.: oval, 5x3^^; with border, rect., 5% x 4^. PI. to The Gallery of 
Portraits, vol. VI (London : 1836). 

Cornelis Danckerts — the name is variously spelled — was a draughtsman, engraver 
and dealer at Amsterdam from 1637 to 1684. Thomas VVoolnoth (c. 1790-1839) 
was an English painter and engraver. 

234 Title missing. 

Same portrait. 

Clipping. Line and stipple engr. : 5x3j^. Trimmed. 

235 Maurin Uth. de Delpech. | CALVIN 

Portrait of similar type : to r.; looking down. 

Lith.: about 10x9. PI. to Iconographie Française, by Madame Delpech, vol. I 

(Paris : 1840). 

POPE PIUS IV 

31 March 1499 — 9 December 1565 

Giovanni Angelo Medici, a native of Milan, was appointed cardinal 
in 1549, and elected Pope 25 December, 1559, succeeding Paul IV. 

236 Fig. 159. — Pope Pius IV. Reduced facsimile of the engraving by 
Nicholas Beatrizet j {cir. 1515-1560). 

[Original title] PIVS . IIII . PONT . OPT . 

MAX . 



52 

Bust : profile; to r. ; coat of arms in upper r. hand corner. 

Print : about 6J^ x 4'^. In A History of All Nations, by J. H. Wright and others, 

vol. XI tPhiladelphia and New York : [1905] ). 

LORD DARNLEY 

7 December 1545 — 10 February 1567 

Henry Stuart, or Stewart, Lord Darnley, son of Matthew Stuart, 
Earl of Lennox, and, through his mother, great-grandson of Henry 
VII of England, was married to Mary, Queen of Scots, July 29, 1565. 
He was murdered shortly after the birth of his son, the future James I 
of England. 

237 HENRY LORD DARNLEY (AND HIS | YOUNGER BROTHER) 
I From the portrait belonging to the King | at Holyrood Pa'ace | 

Face p. 150 [On the original is an inscription with the date 1562.] 

W. L.: to 1.; looking to front; r. hand on shoulder of brother. 
Half-tone print : SJis x 25^. In the collection of Historical Portraits chosen by 
Emery Walker and published by the Clarendon Press, vol. I (1909). 

238 Engraved by H. Robinson. | HENRY STUART, LORD 
DARNLEY, | KING OF SCOTLAND. | OB. 1567. | FROM 
THE ORIGINAL, IN THE COLLECTION OF | THE RIGHT 
j^Qj^BLE -pf^g LATE EARL OF SEAFORTH. | London, Published 
April 1, 1829, by Harding b' Lepard, Pall Mall East. 

T. Q. L.: to 1.; with cap, cloak, sword and dagger. 

Stipple en-r.: 5)^x3%; with bor er, S}4x4}^. PI. to Portraits and Memoirs of 
the mi.st illustrious personages of British History, hy Edmund Lodt^e, 3rd éd., no. IX 
(London : 1829). 

GASPARD DE COLIGNY 
16 February 1519 — 24 August 1572 

Gaspard de Coligny, Seigneur de Chatillon, was the son of Gaspard 
de Coligny, marshal of France, and of Louise de Montmorency, 
member of one of the most powerful French families. In 1552 he 
was appointed admiral of France, and in this capacity promoted the 
attempts at Huguenot colonisation in Brazil and Florida. About 
1558 he embraced the Protestant religion, and until his murder in 
the massacre of St. Bartholomew was the chief leader of the Huguenots. 

239 COLIGNY 

[On original drawing] I'annral [In list of Illustrations] Now at 
Chantilly, attributed to Clouet. (By permission of Lord Ronald Sutherland Gower; 
No. 35, vol. i. of his Three Hundred French Portraits). 

Nearly H. L.: to 1. 

Print, facsimile of sketch : about 5 x 3J^. PI. to Gaspard de Coligny. by A. W. 

Whitehead (London : [1904] ). 

240 Copyright, 1897, by Little, Brown, &■ C9 Goupil b" C°. Paris. [On guard] 
Caspar de Coligny. [in list of Illustrations] From the oriainal 
painting in the Louvre. 



53 

Bust : to I.; with high collar and neck ruff. 

Photorravure : oval, 5>^ x 3}^. PI. to Pioneers cf France in the New World, by 

P'rancis Parkman, Champlain Edition, vol. I (Boston : 1897). 

241 Fig. 123. — Admiral Coligny. Painting of the French school in the 

sixteenth century. In | possession of the Société de l'histoire du 
protestantisme. [On face of picture] GASPARD DE COLIGNI 
SEIGNEUR DE GRAILLON | ADMIRAL DE FRANCE. 

Nearly T. Q. L. : to 1.; in armour. 

Print : 6% x 4M. In A History of All Nations, by T. H. Wright and others, vol. XI 

(.Philadelphia and New York : [190S] ). 



242 Coligny 



[In list of Illustrations] Portrait by an unknown artist, formerly in the 
possession of the family of Beza, now in the Bibliothèque Publique, Geneva. (From 
a photograph by Boissonnas of Geneva.) 

Nearly H. L.: to 1. 

Photogravure : 4M x 3?^. PI. to A. W. Whitehead, op. cit. 

243 [In cartouche at bottom] CASPAR COMTE DE COLIGNY 

Seignevr de Chastillon Admiral | de France 

Jacque picart fecit. 

Bust : to r., looking to 1.; with neck-ruff and body armour. 

Print from line engr.: oval, 4x3; with frame, etc., rect., 5% x 3%. PI. to Histoire 

de la marine française, by Charles de la Roncière, vol. IV (.Paris : 1910). 

244 Maurin i. uth. de Ddpech. \ G^ DE COLIGNY. | Amiral 
de France. | Tiré de la Bibliothèque royale. 

Same portrait, slightly modified. 

Lith.: about 10x9. PI. to Iconographie Française, by Madame Delpech, vol. \ 
(Paris : 1840). 

245 ODET GASPARD FRANCIS | 
THE THREE COLIGNYS 

[In list of Illustrations] By an unknown artist. (The Mauritshuis, the Hague; 
from a photograph by Braun, Clément & Cie., of Paris). 

Gaspard in centra. W. L.: to 1. 

Half-tone print : 4M x 4. PI. to A. W. Whitehead, op. cit. 

Odet (1517-1571), Archbishop of Toulouse and Cardinal, and Francis (1521-1569), 
Seigneur of Andelot, were brothers of Gaspard de Coligny. 

CHARLES IX 

27 June 1550 — 30 May 1574 

Charles w^as the son of Hsnry II of France and Catherine de' Medici. 
He succeeded to the throne on the death of his brother, Francis II, 
December 5, 1560. 

246 Fig. 124. — Charles IX., King of France. Painting by François Clouet, 
called Janet (six-|teenth century). Owned by the Due d'Aumale. 

Bust : to 1.; with plumed hat and neck-rufF. 

Print : 5^ X AV». PI. to .4 Htslorv of All Nations, by T. H. Wright and others, 
vol. XI (Philadelphia and New York : [19051 )• 



54 

247 (Thomas de Leu) [In frame] CHARLES IX DV NOM 

ROY DE FRANCE 

Bust : to r.; with plumed hat and neck-ruff. In oval frame. 

Print : 5 X 4. PI. to Gaspard de Coligny, by A. W. Whitehead (London : [1904] ). 

Thomas de Leeuw, or Leu (c. 1562 -<r. 1620), was a Flemish engraver, especially 
distinguished in portraiture, who spent the greater part of his life in France. 

248 /. Lith. de Deipech. ZË Bclliard I CHARLES IX. I Roi de 
France. \ Tiré du Musée Royal de France. 

Bust : to r.; eyes directed to front. Resembles preceding. 

Lith.: about 10x8)^. PI. to Iconographie Française, by Madame Deipech, vol. I 

(Paris : 1840). 



249 A.J.Lallemand I XVI? SiÈCLE 



40 



W. L.: with cloak and plumed hat; r. hand on back of chair, 1. hand 
on hilt of sword. 

Etching, coloured : 7J^ x 5. PI. to Costumes historiques des XVI^, XVH^ et 
XVI 11^ siècles, by E. Lechevallier-Chevignard and Georges Duplessis, vol. I 
(Paris : 1867). 

This was said to be from a portrait in the possession of the comte Georges de Mon- 
brison. The four pictures show nearly identical treatment of the head. 

250 CHARLES IX. DV NOM, ROY DE 
FRANCE. 

H. L.: to r.; in armour; wreath on head, lance in r. hand. 

Line engr.: 7x6. In Pourtraits el vies des hommes illustres, by André Thevet 

(Paris : 1584). 



PEDRO MENENDEZ DE AVILES 
1519 — 17 September 1574 

Pedro Menendez de Avilés was a native of Asturias who became one 
of the ablest of Spanish naval officers. In 1565 he led an expedition 
to Florida which founded St. Augustine, the oldest permanent Euro- 
pean settlement north of Mexico, and exterminated the French 
colony at Fort Caroline. 

251 MENENDEZ. 

Bust : to r. 

Stipple engr.: about .3J^ x 3}^. PI. to History and General Description of Neia 

France, by Charlevoix, translated by John Gilmary Shea, vol. I (New York : 1866). 

252 Copyright. 1897, by Little, Brawn, &= C°. [On guard] PedrO McnendeZ dc 

Avilés. 

Same engr. PI. to Pioneers ci France in the New World, by Francis Parkman, 
Champlain Edition, vol. I (Boston : 1897). 



55 

This plate was engraved for the 1865 edition of Parkman's Pioneers of France in the 
New World, and was used in subsequent editions and in Shea's Charlevoix. It was 
based on a Spanish engraving of 1791, drawn by José Camaron y Bononat (1730- 
1803), and engraved by Franco de Paula Marte. 

SIR HUMPHREY GILBERT 

C. 1539 — 9 September 1583 

Sir Humphrey Gilbert, a native of Devon, was a soldier and navigator 
who devoted himself to the promotion of the discovery of a North- 
West Passage. In 1578 he obtained a charter for western discovery 
and colonization. On August 5, 1583, he planted a colony at St. 
John's, Newfoundland, the first English settlement in America. 
On the return voyage the ship in which he sailed was lost. 

253 [In oval frame] HVMFRIDVS GILBERTVS MILES 

AVRATVS Ec [In segment at bottom] Quid Nofl [In margin 
at bottom of original] G/LJSETF'S dues aliutn deduxit in orbem \ 
Quo CHRIST I imbuerit Barbara co^ da fide A B 

Nearly H. L.: to 1.; in armour; r. hand on armillary sphere. 

Line engr.: oval, 4% x 3% ; with border, rect., 5}4 ^ 'i^i- PI- to Heruydogia 
Anglica, by H [enry] H [oUand] (1620). There are reproductions in Sir Humphrey 
Cylberte and his enterprises of colonization in America (Boston, The Prince Society : 
1903), and The Principal Navigations, Voyages Traffigues &* Discoveries of the English 
Nation, by Richard Hakluyt, vol. VIII (Glasgow: 1904). 

254 Sir Humphrey Gilbert i^f | | m. v^." gucm scuip [in segment 
at bottom] Quid Non 

Same portrait. 

Line engr.: oval, 4M ^ •S^; with border, rect., 55i x 4. Three others on same 
plate. PI. to A Compleat Collection of Voyages and Travels, by John Harris, vol. I 
(London : 170.S). 

Michiel van der Gucht (1660-1725) was a Flemish engraver who lived the greater 
part of his life in England. 

There are other prints of this portrait. 

POPE GREGORY XIII 

7 January 1502 — 10 April 1585 

Ugo Buoncompagni, a native of Bologna, was appointed cardinal in 
1564, and on May 13, 1572, was elected Pope, succeeding Pius V. 
To him was due the promulgation of the reformed, or Gregorian, cal- 
endar. 

255 [Obverse of medal : inscription on border] GREGrORIVS . 

XIII . PONT . OPT . MAXIMVS | L . FARM . 
jReverse] SVPER . RANG . PETRAM I ROMA 

Obverse. Bust : profile; to r. Reverse. St. Peter's. 
Clipping. Line engr.: each, IJ^ diain. 



56 
RENÉ DE LAUDONNIÈRE 

? — c. 1586 

René Goulaine de Laudonnière, a native of Poitou, was second in 
command in the Huguenot attempt at colonisation in Florida, 1562- 
1565. He was in charge of Fort Caroline when it was captured by 
the Spaniards, September 20, 1565. He escaped, returned to France, 
and afterwards wrote an account of the undertaking. 

256 Copyright, 1897, by Little, Brawn. &» Co Goupil &■ C° Paris. [On original print] 
NIHIL OMNI EX PAR- | TE BEATVM. [With monogram 
of engraver.] [On guard] René de Laudonnière. [In list of 

Illustrations] From an engraving by Crispin de Passe, in the Bibliothèque 
Nationale. 

Nearly H. L. : to r. 

Photocravure from line engr.: oval, 4?^ x 3H. PI. to Pioneers of France in the New 
World, by Francis Parkman, Champlain Edition, vol. I (Boston : 1897). 

257 RENE LAUDONNIERE 

[Original title, in frame] GENEROSISSIMVS RENATVS 

LAVDONNIERVS FRANCICAE IN AMERICAM CLASSIS 
DVX. MDXCVIII I I NIHIL OMNI EX PAR- 1 TE BEATVM. 
[With monogram.] Laudibus intactiis num. Laiidionerus 
abibo? j Florida regnorum comprend it America quae nunc \ 
Hand minimum cuius Francis virtute subactum. \ Perfida 
quern si non sociorum turpiter hosti | Factio prodisset {cuius 
tamen, omnibus vltis, \ Elapsus manibus) quae, qualia, 
quanta patrassem ? 

Same picture, with reproduction of ornamental border. 

Photo-process print: oval, 3%x2%; w'th border, rect.. 4J^ x 35^. PI- to The 
Principal Navigations Voyages Trafiques &= Discoveries of the English Nation, bv 
Richard Hakluyt, vol. IX (.Glasgow : 1904;. 

There are in the collection other modern prints reproducing this engraving. 

258 Rouargue frères del. et so. | HaUbOnUiCre. 

W. L.: to 1.; with plumed hat, cloak, slashed doublet, high boots, 

cane in r. hand. Coat of arms and supports, coloured, in upp' r 

margin. 

Line engr.: 5% x 3%. PL to Les Navigateurs Français, hy 'Léon Cuerin (Paris: 1841')). 

MARY OUEEN OF SCOTS 

7 or 8 December 1542 — 8 February 1587 

Mary Stuart, daughter of James V of Scotland, whom she succeeded 
some eight days after her birth, was educated in France and became 
the queen of Francis II. On his death she returned to Scotland, 
1561. In 1568 she fled to England, where she was held prisoner until 
condemned and put to death on a charge of conspiracy against Queen 
Elizabeth. By her second husband. Lord Darnley, she was the 
mother of James I of England. 



57 

259 MARY AS DAUPHINESS (ABOUT 1558) | ASCRIBED TO CLOUET I 
PICTURE NOW AT STE. GENEVIÈVE 

Nearly H. L.: to r. 

Half-tone print : 37^ x 2%. Three others on same plate. PI. to The Catholic 
Encyclopedia, vol. IX (New York : [1910] ). 

This picture has been ascribed also to Jehan de Court, who in 1566-7 was drawing a 
salary as painter to the Queen of Scots, and later was in the employ of the French 
court. 

260 Fig. 141. — Mary, Queen of Scots. Painting by François Clouet, called 
Janet (died about | 1570). (Original in the possession of Princess 
C7artorisky.) 

[On face of print] MARIE STVART | REYNE D'ESCOSSE 

Bust : to 1.; with double necklace of pearls. 

Print : 5% x 4M- In A History of All Nations, by .1. H. Wright and others, vol. XI 
(Philadelphia and New York : [1905] ). 

261 [Ov. guard] As Widow of \ Francis II. \ From Drawing in | 
the Bibliothèque \ Nationale, \ Paris 

Bust : to r.; in "blanc deuil". 

Photo-process print, in tint : \% x IH- Three others on same plate. PI. to Lives 
of the Qui-ens of England, by Ajnes ^ trickl nd. Imperial Er ition, vol. VIII 
(Philar'elphia : [1902] ). There is another print in the collection of Historical 
Portraits chosen by Emery Walker and published by the Clarendon Press, vol. I 
(1909). 

The original chalk drawing is in the Bibliothèque Nationale. There are several 
copies. 

262 Typogravure Goupil of Paris {France). W. A. Mansell bf Co.. photo. | MARY 

STUART, QUEEN OF SCOTLAND, AS WIDOW OF 

FRANCIS II OF FRANCE I CLOUET, WALLACE GALLERY, 

LONDON 

[In margin at bottom of original] MARIK . STVART . 

REYNE . DESCOSSE . VEVFE . DE . FRANCOIS 

SECOND . ROY . DE . FRANCE . 

Same portrait. 

Colour half-tone print : 7J4 x SJ^, including title margin. PI. to The Catholic 
Encyclopedia, loc. cit. 

263 MARY WHILE QUEEN (ABOUT 1562) | PAINTER UNKNOWN | OWNER 
THE EARL OF LEVEN AND MELVILLE 

Nearly H. L.: head slightly to r. 

Half-tone print : 3J^ x 2!J)â. Three others on same plate. PI. to The Catholic 
Encyclopedia, loc. cit. 

This is the only portrait which, in the opinion of modern critics, may have been 
painted during Mary's reign in Scotland. Andrew Lang, however, thought that 
it dated from 1559-60. It seems to be either a genuine original or an early and 
good copy. 

264 MARY IN CAPTIVITY (ABOUT 1578) | THE "BROCAS PORTRAIT' — 
SHEFFIELD TYPE. PAINTER UNKNOWN | PICTURE NOW IN THE 
NATIONAL GALLERY, LONDON 

Nearly H. L.: to 1. 

Half-tone print : 3Ji x 2^fe' Three others on same plate. PI. to The Catholic 
Encyclopedia, loc. cit. 



58 

This picture, in the National Portrait Gallery, is a variant of the so-called "Sheffield" 
portrait in the possession of the Duke of Devonshire, at Hardwick. That is signed 
"P. Oudry," and dated 1578. They may both be copies of a portrait, probably a 
miniature, painted in 1577. 

265 MEMORIAL PORTRAIT | PAINTER UNKNOWN | THE ORIGINAL IS 

AT BLAIRS COLLEGE, ABERDEEN, SCOTLAND 

Nearly H. L.: to 1.; with large neck-rufï. 

Half-tone print : 3% x 2%. Threfe others on same plate. PI. to Tke Catholic 

Encyclopedia, loc. cit. 

This is from a valuable picture showing the scene at the execution of her death 
sentence. The portrait is believed to have been derived from a miniature which 
belonged to Mary's attendant, Elizabeth Curie. 

260 Engraved by J. Thomson. | MARY, QUEEN OF SCOTS. \ 

OB. 1587. I FROM THE ORIGINAL, IN THE COLLECTION OF | THE 

RIGHT HON^^^ THE EARL OF MORTON. | London, Published 
Oct. 1, 1829, by Harding &• Lepard, Pall Mall East. 

T. Q. L.: to 1.; r. hand touching jewel on necklace. 

Ftipple and line engr.: 4j^x3M- PI- to Portraits and Memoirs of the most 
illustrious personages of British History, by Edmund Lodge, 3rd éd., no. X 
(London : 1829). 

A tradition, apparently without serious foundation, says that the Morton portrait 
was painted during Mary's captivity at Lochleven Castle, 1567-68. Experts difïer 
in their opinions: some consider it to have been painted, probably from a miniature, 
about 1580; others assign it to the seventeenth century. The engraving published 
by Lodge was taken from a water-colour sketch made by W. Hilton, R. A., in 1819, 
in which the details of the original were quite freely altered. James Thomson (1787 ?- 
1850) was a celebrated English stipple engraver, whose work was done almost entirely 
in portraiture. 

267 [On guard] As BothwelVs Wife. After the Painting | of the 
School of Clouet now at the | Hermitage Gallery, Saint | 
Petersburg 

More than H. L.: to 1.; seated in arm-chair. 

Photo-process print, in tint : 3% x 2%. Three others on same plate. PI. to Agnes 

Strickland, loc. cit. 

This picture is now considered to be of late date. It has been ascribed to Daniel 
Mytens (1590 ?-c. 1656). 

268 Z'^ Belliard Liih. de Delpech. ! MARIE STUART. 

H. L.: to !.; with plain wide linen collar, and cross suspended by 

ribbon. 

Lith.: about 9}^ x 8. PI. to Iconographie Frantaise, by Madame Delpech, rol. I 

(Paris : 1840). 

269 [On guard] From the Monument \ in Westminster \ A bbey 

Head : to r. 

Photo-process print, in tint : \% x lyi. Three others on same plate. PI. to Agnes 

Strickland, loc. cit. 



59 

CATHERINE DE' MEDICI 

1519 — 5 January 1589 

Catherine, daughter of Lorenzo II de' Medici, was wife of Henry II 
of France, whom she married in 1533, and mother of Francis II, 
Charles IX and Henry III. She was regent during the minority of 
Charles IX, 1560-63, and continued to exercise great influence until 
her death. 

270 CATHERINE DE' MEDICI | (Clouel) [On face of print] Catherine Je 

M edict 3 

Bust : to 1. 

Half-tone print from drawing : 5J^ x 4. PI. to Gaspard de Coligny, by A. W. 
Whitehead (London : [1904] ). 

The original is in the British Museum. 

271 Fig. 4.— CATHERINE DE MEDICI, WEARING A LINEN | 
UPTURNED COLLAR OF CUT WORK AND NEEDLE- | 
POINT LACE. Louvre. About 1540. 

Bust : to 1. 

Half-tone print : 4 x 2>%. Three others on same plate. PI. to Encyclopadia Britannica, 
11th éd., vol. XVI (Cambridge : 1911). 

272 Maurin i. uih. de Deipech. I CATHERINE DE 
MEDICIS, ] Reine de France. \ Tiré du Cabinet da 
M»" le Ch^!. Unoir. 

Nearly H. L.: to r.; in widow's garb. 

Lith.: about 9 X 9. PI. co Iconographie Française, by Madame Delpech, vol. I 
(Paris : 1840). 

HENRY HI 

19 September 1551 — 1 August 1589 

Henry, third son of Henry II and Catherine de' Medici, succeeded 
to the throne of France on the death of his brother, Charles IX, in 
1574. 

273 Fig. 127. — Henry III., King of France. Painting by Clouet, called 
Janet (died LS70). 

W. L.: to r.; I. hand on arm of chair. 

Print : 45^ x 3^- In A History of All Nations, by J. H. Wright and others, vol. XI 
(Philadelphia and New York : [1905] ). 

274 Sonnet 

Voyant en ce recueil ceste troupe diuine 
II me semble, THEVET, q rauy hors de moy 
Aux champs Ely siens ie me trouue auec toy, 
Comme le Phrygien guidé par sa Deuine 
Là tu vas remarquant en chacun plus insigne 



60 

Ce qu'il monstre de rare et mémorable en soy: 
Mais l'y voy entre tous Vjmage de mon Roy, 
Qui du premier honneur seule se monstre digne. 
Si tu voiilois, THE VET, mettre déliant les yeux 
Les exemples diuers des actes glorieux, 
Le portrait de HENRY seul te pouuoit suffire. 
Car toutes les vertuz que le hault Ciel depart, 
Tout ce qui peut orner tous les autres à part 
On le voit en luy seul heureusement reluyre. 

PAR Sceuole de S^^ Marthe 

Trésorier General de France 

T. Q. L.: to r. ; in armour; 1. arm resting beside helmet on stand. 

Line en?r.: 8x8. PI. to Pourtrails et vies des hommes illustres, by André Thevet 
(Paris : 1584). 

Gaucher de Sainte-Marthe (1536-1623), who adopted the name Scév'ole (Scaevola), 
was a poet and public official, and a strong adherent of the royal cause throughout 
the troubles of the second half of the sixteenth century in France. 

275 XVI? Siècle | so 

W. L.: to r.; eyes directed to 1.; 1. hand on sword hilt. Dog in back- 
ground. 

Line engr., coloured : about 7 x 3J^. PI. to Costumes historiques des XVI', 
XVII^ et XVIII^ siècles, by E. Leclievallier-Chevignard and Georges Duplessis, 
vol. II (Paris : 1867). 

276 PLATE XX. | | Henry III., King of France. | 

From a painting in the Louvre, Paris. | History of All Nations, vol. XL, 
page 395. 

Similar portrait. H. L. 

Print : 6M x 4?^. In J. H. Wright and others, loc. cil. 

277 Maurin I. Uih. de Ddpcch. \ HENRY III. | Tiré du Cabmet 

de M., Le Ch.. Lenoir. 

Of similar type. Bust : to 1. 

Lith.: about 11x9. PI. to Iconographie Française, by Madame Delpech, vol. I 
(Paris : 1840). 

278 Title missing. 

Of same type. Bust : to r. 
Clipping. Line engr.: 2% x 2. Trimmed. 

ANDRE THEVET 

1502 — 23 November 1590 

André Thevet sailed to South America with Villegagnon's colonising 
expedition in 1555. His claim to have visited Canada appears to be 
false. About 1558 he was appointed historiographer and cosmograph- 



61 

er to the French king. His published works include Les Singularitez 
de la France antartique (Paris: 1557), La Cosmographie universelle 
(Paris: 1571, 1575), and Les Vrais Pourtraits et vies des hommes 
illustres (Paris: 1584). His descriptions of Canada are drawn 
partly from the reports of others, partly from his own imagination. 

279 IN ANDREW THE VET I \ REGIS COSMO- 
GRAPHI I Effigiem. | 

Postqiiam Instratl terrarum, qua patet, orhem 

Andrea Aquitano nate THE VETE solo. 

Illustras homines illustres arte vel armis 

Sen tabulas pictas, siue perhistorias. 

Dignus es ergo, alijs quod das decus, ipse refer re: 

Inter vt illustres annumerere viros. 

lo. Aiiratus Poeta Regius. 

H. L.: to r. ; I. hand on books. 

LineentTT.: 63^x5^. PI. to Pourtraits et vies des hommes illustres, by André 

Thevet (Paris : 1584). 

SIR RICHARD GRENVILLE 
C 1541 — September 1591 

Sir Richard Grenville, or Greynvile, was a native of Cornwall who 
commanded the fleet in which his cousin. Sir Walter Raleigh, sent the 
first English colony to Virginia in 1585. In 1586 he again sailed to 
Virginia, and in 1591 was killed in action against the Spaniards off 
the Azores. 

280 [In frame] RIHARDVS GRENVILVS 

Mil. aur. [Under portrait] Neptuni proles, qui magni 
Martis alumnus Grenvilivs patrias sanguine tinxii aquas 

Bust : to 1. 

Line engr.: oval, 414 x 3%; with border, rect., 514 x 4%. PI. to Fleriùologia Anglica. 
by H [enry] H [olland] (1620). There is a reproduction in The Principal Navigations 
Voyages TraffiquiS &• Discoveries of the English Nation, by Richard Hakluyt, vol. 
VII (Glasgow : 1904). 

281 Sir Richard Grenvill K. \ \ m. v^' .- gucm scuip 

Same picture. 

Line en'.r.: oval, 43^ x ?,^\ with border, rect., 5% x 4. Three others on same plate. 
PI. to .4 Compleat Collction of Voyages and Travels, by Jchn Harris, vol. II 
(London : 1705). There is a print from a stipple engraving of this portrait in 
The Genesis of the United States, by Ale.xander Brown, vol. I (Boston and New 
York : 1890). 



62 

ELIZABETH OF AUSTRIA 

5 June 1554 — 22 January 1592 

Elizabeth, daughter of the Emperor Maximilian II and, through her 
mother, grand-daughter of Charles V, was married to Charles IX of 
France, November 26, 1570. 

282 i.Lith.deD.ipcch. zinBclliard I ELISABETH 

D AUTRICiHE. | Tiré du Musée Royal de France. 

Nearly H. L.: to r.; looking to front. 

Lith.: about 10x9. PI. to Iconographie Française, by Madame Delpech, vol. I 
(Paris : 1840). 



THOMAS CAVENDISH 

C. 1555 — 1592 

Thomas Cavendish, or Candish, a native of Suffolk, commanded a 
ship in Sir Richard Grenville's expedition to Virginia in 1585. In 
1586-88 he circumnavigated the globe, sailing by way of the Straits 
of Magellan and the west coast of America as far as Lower California. 
He failed in a second attempt at circumnavigation, and died at sea. 

283 THOMAS CAVENDISH. 

[Original title : in frame] THOMAS CANDYSSH NOBILIS 

ANGLVS JETA. SVJE XXVIII [Under portrait] Hœc ilia est 
candide inspector, illustrisstmi Thomae Caundyssh nobilis An-\gli ad vivunt, imago; 
gui ex Anglia 21 Julij 1586 navem conscendens, totum \ terrce ambitum circumnavigavit, 
redijlq in patria portum Plinmouth IS Sept. 1588. 

Bust : to 1.; map of the world in two hemispheres before him. 

Photo-process print from line ener.: oval, 3J^ x 2Ji; with border, including Latin 
inscription, rect., 4^ x 3}^. PI. to The Principal Navigations Voyages Trafiques br 
Discoveries of the English Nation, by Richard Hakluyt, vol. XI (Glasgow : 1904). 

This is a reproduction of the engraving published by Judocus Hondius about 1595 
in connection with his chart of the world showing the voyages of Drake and Caven- 
dish. Judocus Hondius, or Joos de Hondt (1563-1611), was a Flemish engraver, and 
maker of type, mathematical instruments, and globes, who lived in England from 
1583 to about 1594. 

284 lln frame] THOMAS. CANDISH. 

A R M I G E R [In segment at bottom] A ntmum fortufia I 

SequatUT [Under picture] Ignauos Fortuna fugit tu promtus 
in hostes. | Pergis, et impauidus prxdâ ditaris opimas. \ AB 

Nearly H. L.: to 1.; compasses in r. hand, measuring globe. 
Line enpr.: oval, 4J-^ x 3%; wi'h border, 5% x 4%. PI. to HerDologia Anglica, 
by H jenryl H [olland] (1620); there is a reproduction in Narrative and Critical 
History of America, by Justin Winsor, vol. Ill (Boston and New York : [1884] ). 

285 M Thomas Candish. | m. vi'- cucht scuip 

Same picture and Latin motto. 

Line engr.: oval. 43/^x35^; with border, rect., -S^i x 4. Three others on same 
plate. PI. to A Compleat Collection of Voyages and Travels, by John Harris, vol. I 
(London : 1705). 



63 

CHRISTOPHER CARLEILL 
C. 1551 — 11 November 1593 

Christopher Carleill, or Carlile, was one of the ablest English military 
and naval commanders of his time. In 1583 he attempted to pro- 
mote a voyage of discovery to the coast of America "South-west of 
Cape Breton," and wrote "A briefe and summary discourse upon the 
intended voyage to the hithermost parts of America," in which some 
information is given regarding French trade in Canada. 

286 [In frame] C HR I ST O P"E RU S | C ARL'^ I LL 
A^MIGER [In segment at bottom] Par mer et par 
terre | l'art de la guerre [Under picture] CARLELVM 
Callus. CARLELVM Sarmata laudat \ Virtutesque huius 
Belgica terra probat 

Bust : slightly to r. 

Line engr.: oval. 4% x 3Vi,; with border, rect., 5}^ x 4H- PI- to Herojologia Anglica. 
by H [enry] H [oUand] (1620) ; there are reproductions in The Principal Narigaltons 
Voyages Trafiques cT Discoveries of the English Nation, by Richard Halduyt, vol. VIII 
(Glasgow : 1904); and The Genesis of the United Utates, by Alexander Brown, 
vol. I (Boston and New York : 1890). 

SIR IMARTIN FROBISHER 

C 1535 — 22 November 1594 

Sir Martin Frobisher, a native of Yorkshire, who became one of the 
most skilful seamen of the time, led three expeditions, in 1576, 1577, 
and 1578, in search of a North-West Passage. Frobisher Bay and 
Hudson's Strait were discovered. Frobisher later fought with 
distinction in the war against Spain, dying of a wound received in 
this service. 

287 SIR MARTIN FROBISHER j From the portrait by Cornells Ketel | 
in the Bodleian Library 

W. L.: to r.; pistol in r. hand, globe on table in 1. background. 
Half-tone print : 6% x 2%. Two others on same plate. In the collection of 
Historical Portraits chosen by Emery Walker and published by the Clarendon Press, 
vol. I (1909). 

Cornells Ketel (1548-1616), painter, modeller, and architect, was a native of Gouda 
in Holland. He resided in England from 1573 to 1581, and painted the portraits 
of several persons of prominence in public life. 

288 Un frame] MART I NUS F ROB I SHE RUS , E ' 
auratllS [Under picture] FORBISHERVS ouans NEP- 
TVNIA regna fréquentât | Pre patria at tandem glande 
peremptus obit 

Bust : to r.: eyes directed to 1. 

Line engr.: oval, s X 3J<; with border, rect., 55^ X 4j^. PI. to Herojologia Anglica. 
by H [enry] H [olland] (1620); there is a reproduction in The Principal Navigations 
Voyages Trafiques 6" Discoveries of the English Nation, by Richard Halkuyt, vol. Vll 
(Glasgow : 1904). 



64 

289 Sir Martin Frobisher K. | m. vI' gucm scuip. 

Same portrait. To 1. 

Line engr.: oval, 45^ x 3^; with margin, rect., 5M x 4. Three others on same plate. 
PI. to A Compleat Collection of Voyages and Travels, by John Harris, vol. I 
(London : 1705). 

There are in the collertion other prints based on the engraving in Holland's work. 

SIR JOHN HAWKINS 

1532 — 12 November 1595 

Sir John Hawkins, or Hawkyns, slave-trader and naval commander, 
was a native of Plymouth. He bore an important share in the struggles 
at sea between English and Spaniards during the reign of Elizabeth. 
In 1565 he gave valuable assistance to the French colony in Florida. 

290 Copyright, 1897, by Little, Brown, b' C. Goupil &» C° Paris. \ By permission of 

Miss hcwkiris, owner of the original painting 

[On face of original] ^TATIS SV/E LVIII | Anno Doni 1591 [On guard] 
Sir John Han kins, [in list of Illustrations] From the original 
painting by Zucchero, in the possession of Miss Mary S. W. Hawkins, Plymouth, 
England. 

T.Q.L.: to r. ; in hat, cloak, neck-ruff; r. hand on belt, I. hand on hilt of 
sword. Coat of arms in upper 1. hand corner. 

Photogravure : Sy» x 3J^. PI. to Pioneers cf Fiance in the New World, by Francis 
Parkman, Champlain Edition, vol. I (Boston : 1897). There is a half-tone copy of 
this picture in the collection of Historical Portraits chosen by Emery Walker and 
published by the Clarendon Press, vol. I (1909). 

Federigo Zuccaro, or Zucchero, (1542 or 1543-1690) was an Italian painter, a native 
of Urbino, who worked in France, Antwerp, Amsterdam, England and Spain, as 
well as Italy. He came to England in 1574, and remained four years. The attribu- 
tion of this painting to him is, therefore, probably incorrect; but it is considered 
to be a genuine contemporary portrait. To Zucchero has been credited a large 
number of portraits of Queen Elizabeth, and of notable persons of her reign, but only 
a few of these appear to be actually his work. 

291 SIR JOHN HAWKINS 

[In oval frame] JOANNES HAWKINS [In seg- 
ment under portrait] Aduanncement by ) dilligence [At bottom cf 
print] Qui Vicit totiens instructis classihus hosies \ Ille 
Vagis HAVKINS Viiam relliquit in vndis 

Bust: to 1.; in hat and neck-ruff. 

Lineengr.: oval, 5 x3^; with bo.der, recc, 5% x 4\^. PI. to Heru>ologia Anglica. 
by H [enry] H [olland] (1620). There arc reproductions in The Principal Navigations 
VcyagiS 'ircffiques b" Discoveries cf the linglish Nation, by Richard Hakluyt, vol. IX 
(Glasgow : 1904;, and Elizabethan i>e.a-Dogs, by William Wood iNew Haven, etc.: 1918). 

292 Sir John Hawkins K^ \ m. v^": cucht scuip 

Same portrait. 

Line engr.: oval, 4Ji x 35^; with border, rect., 55^ x 4. Three others on same plate. 
PI. to .4 Compltat Collection of Voyages and Travels, by John Harris, vol. II (London : 
1705). 



65 

293 Plate ccccLxxvii. Blood se \ Admiral Sir John Hawkins, 

Ob 1595. I I London 31^* JanV 1817, Published by Joyce Gold Naval 
Chronicle Office, | N°. 103 Shoe Lane Fleet 6''.. 

Same portrait, slightly modified. Coat of arms in title margin. 
Stipple engr.: oval, 3^ x 3. PI. to The Naval Chronicle, vol. XXXVII, Jan.-June, 
1817 (.London). 

294 Sir John Hawkins, Kt. From the basso-relievo ivory in possession of | 
Rev. Bradford Denne Hawkins, of Devonshire, England. 

Bust : to r.; head turned to 1. 

Half-tone print : 5H x 4. PI. to The History of North America, edited by Guy 

Carleton Lee, University Edition, vol. I (Philadelphia : [1903] ). 

It is not certain that this ivory bust is an authentic representation of Hawkins. 



SIR FRANCIS DRAKE 

C. 1545 — 28 January 1596 

Sir Francis Drake, a native of Devonshire and kinsman of Sir John 
Hawkins, became the most famous of EngHsh seamen in the wars and 
privateering expeditions against the Spaniards during the reign of 
EHzabeth. He was the first EngHsh commander to circumnavigate 
the globe, the voyage lasting from December 13, 1577, to September 26, 
1580. In 1579 he was on the west coast of North America, probably- 
near the site of San Francisco, and took possession of the country 
for England, naming it New Albion. He died while in command of 
an expedition against the Spanish settlements in the West Indies. 

295 SIR FRANCIS DRAKE | From a miniature by Nicholas Hilliard 
belonging to the | Earl of Derby. (Enlarged from original) | Face p. 84 
[On face of picture] ^iatis Suœ . 42. Ano Dni: 1581: 

Bust : to 1. 

Half-tone print : 2^ diam. In the collection of Historical Portraits chosen by Emery 

Walker and published by the Clarendon Press, vol. I (1909). 

Nicholas Hilliard (1547-1619), a native of Exeter, was a miniature painter who en- 
joyed the patronage of Queen Elizabeth and of James I. 

296 Gravure. Andersen-Lamb. Co. N. Y . [On guard] SIR FRANCIS DRAKE \ 
Painting, probably by Abraham Janssen, 1594. At Buckland | Abbey, 
Devon, England. 

T. Q. L.: to 1.; with neck-ruff. Coat of arms in upper 1. hand corner. 
Photogravure : 5% x 3%. PI. to Elizabethan Sea-Dogs, by William Wood iNew 
Haven, etc.: 1918). 

The original portrait is said to bear the legend ".^î^tatis suae 53 — An° Dom. 1594." 

297 Engraved by w. Hoii. \ DRAKE. | From an original Picture in 
the possession of \ Sir T. F. Eliott Drake Bar{ of Nutwell 
Court, near Exeter. \ Under the Superintendance of the Society for 

the Diffusion of Useful Knowledge. | London, Published by Charles Knight 
Ludgate Street. 



66 

Somewhat similar portrait. T. Q. L.: to 1.; r. hand resting on globe, 

1. hand, in glove, holding hat. 

Stipple engr.: 5% x 4J^. PI. to The Gallery of Portraits, vol. IV (London : 1835). 

298 SIR FRANCIS DRAKE. 

[In frame] FRANCISCVS DRACVS NOBILISS. EQVES 
ANGLI.^ A et. suae 43 [Under picture] Effigies fortiss. Ducts 
Francisci Draci ad vivum, una cum delinea-\tione admirandae ipsius 
navigationis quant Id. Decemb. 1577 ex An-\glia incepit. 4'^ vera 
Kalen. Octoh. 1580 feliciss . absoluit. 

Nearly H. L.: to r.; with shield on which is represented a ship of 
war; two hemispheres in front; 1. hand showing. 

Phoio-process print after line engr.: oval, 3J^ x 2?^; with border, rect., 45^ x 3J4. 
PI. to The Principal Navigations Trafiques à* Discoveries of the English Nation, by 
Richard Hakluyt, vol. X (Glasgow : 1904) . 

This print is a reproduction of that published by Judocus Hondius about 1595. 
It was based on an engraving by Thomas de Leu from a picture by Jean Rabel 
(c. 1545-1603). It is doubtful whether Rabel ever saw Drake. 

There is another adaptation of the Rabel portrait in a medallion on A Mapp of 
Virginia .... Domina Virginia Ferrar coUegit .... 1651, which is reproduced in 
Narrative and Critical History of America, edited by Justin Winsor, vol. Ill 
(Boston and New York : [1884] ). The engraver was John Goddard, an English 
book-illustrator. 

299 Page sc. I FRANCISCVS DRAEC, M.52. \ London P«6<f JanV 31. 
1813, by Joyce Gold, 103, Shoe Lane, Fleet Street. 

Similar portrait, with extensive modifications in details. Coat of 
arms in title margin. 

Stipple engr. : oval, ZyixlH; with border, Ax3%. PI. to The Naval Chronicle, 
vol. XXIX, Jan.-June, 1813. 



300 [Inframe] FRANCISCVS. DRAKE. MILES. 

AVRATVS. [Under picture] Quem timuit sceuis etiam 
Neptunus in vndis \ Et redijt toto victor ab Oceano \ Fœdifragos pellens 
pelago, prostrauit Iberos | DRAKIVS huic tumulus cequoris vnda fuit 

H. L.: to r., looking to 1.; 1. hand on globe. 

Line engr.: oval, 4%x3H; with border, rect., 55^x4}^. PI. to Herioologia 
Anglica, by H [enry] H [olland] (1620). There are reproductions in The History of 
North America, edited by Guy Carleton Lee, University Edition, vol. I (Philadelphia : 
[1903] ); Narrative and Critical History of America, edited by Justin Winsor, vol. Ill 
(Boston and New York); The Genesis of the United States, by Alexander Brown, 
vol. I (Boston and New York : 1890); A History of All Nations, by J. H. Wright 
and others, vol. XXI (Philadelphia and New York : [1905] ). 

301 SIR FRANCIS DRAKE | FROM AN ENGRAVING BY L HOUB- 
RAKEN 

[On scroll below portrait] S^ FRANCIS DRAKE. 

Nearly H. L.: to!.; with lace collar and gorget. In frame on pedestal, 
with ornaments. 

Half-tone print : oval, 3 x 25^; with ornamental border, rect., 6x3^. PI. to The 
History of the Thirteen Colonies of North America, by Reginald W. Jeffery 
(London : [1908] ). 

The original was published in Birch's Heads of Illustrious Persons of Great Britain 
(London: 1743-52). It is from a made-up picture. 



67 

302 Benotst sculp. \ S^ FRANCIS DRAKE. 

Same portrait, reversed. 

Line engr.: oval, 3}4 x 2%; with frame. 3% x 3. PI. to Smollett's History cf 

England (1757). 

303 Engrav'd for the Military Dictionary. \\ SiR FRANCIS 

Dra ke. 

Same portrait: reversed, and slightly modified in details. 

Line engr.: oval, 7 x 6. PI. to A New Military Dictionary: or, the Field of War 

(London : 1760). 

304 Engraved by I. Romney. \ SiR FRANCIS DRAKE. | Published 
25^} July 1812. by I. Siockdale, Piccadilly. 

Another copy of the Houbraken portrait: to 1. 

Line engr.: 4 X 35i£. VX. to Naval History of Great Britain, including the History and 
Lives of the British Admirals, by John Campbell, vol. I (London : 1813). 

John Romney (1786-1863) was an English engraver. 

305 SR FRANCIS DRAKE. 

Another copy: to r. 

Clipping. Line engr.: oval, i% x 3}^; with border, rect., 4Js x 3H- Trimmed. 

306 Sir Francis Draine. \ ob. is96 

Similar to the Military Dictionary portrait. 
Clipping. Stipple engr.: about 4M X 3 Jl. Margins trimmed. 

307 W. Hon I [Facsimile of signature.] ] SIR FRANCIS DRAKE. 

Same portrait: r. hand and belt showing; ship's rigging and expanse 

of ocean in background. 

Clipping. Line and stipple engr.: 4J^ x 3J^. 

308 The worlds siiruaied bounds, braue Drake on thee did gaze, 
Both North and Southerne Poles, haue seene thy manly face. 
If thanklesse men conceale, thy prayse the starres woulde blaze. 
The Sunne his fellow-trauellers worth will duely grace 

Ro : Vaughan sculp, 

Boston, N. E. Published by S. G. Drake 1857. 

H. L.: to 1.; 1. arm on globe, truncheon in r. hand; sextant, armillary 

sphere and other objects on table; coat of arms in upper I. hand 

corner. 

Line engr.: 5% x 4M- PI- to The Founders of New England, by Samuel G. Drake 

(Boston : 1860). 

Robert Vaughan ( ? — c. 1667) was an English engraver whose work consisted chiefly 
of portraits and book illustrations. 

309 Engraved by J. Cochran. | SIR FRANCIS DRAKE. | OB. 1596. | 
FROM THE ORIGINAL IN THE COLLECTION OF | THE MOST 
NOBLE THE MARQUIS OF LOTHIAN. | JOHN TALLIS & COM- 
PANY. LONDON & NEW YORK. 



68 

T. Q. L.: to 1.; r. arm on globe. 

Stipple and line engr.: 4% x 3%; with ornamental border, about 8 x 6}i- PI- to The 
Briiish Colonies; their history, exlent, condition and resources, by R. Montgomery 
Martin, vol. I (London and New York). There is another copy, on which the last 
Une reads: THE LONDON PRINTING AND PUBLISHING COMPANY. This 
engraving was originally published in Lodge's Portraits. 

310 R. White scuipsit. I S^- Francis drake, \ tus picture 

was taken from an Original Painting, Communicated \ by 
the Hon^^^ 5^ Phillip Sydenham Bar{ Kn\ of y shire for 
Somerset. 

H. L.: to r.; with lace collar; oval frame on pedestal. 

Print from line engr.: oval, 6% x4H; with border, rect., 85^ x SJ^g. PI- to The 
Journal of American History, vol. I (New Haven : 1907). 

Robert White (1645-1704), a native of London, was an engraver and draughtsman 
who drew and engraved a large number of English portraits. That of Drake was 
published in Harris's Collection of Voyages (1705). The painting on which it is 
based is of doubtful authenticity. 

311 Lith. de Lemercier à Paris A^ Maurin \ 1836. \ DRAKE. 

Nearly H.L.: to 1.; looking to front. 

Lith.: about 4J^ x 3M- PI- to Biographie Maritime, by M. Hennequin, vol. II 

(Paris : 1836). 

ABRAHAM ORTELIUS 

4 April 1527 — 28 June 1598 

Abraham Ortelius, or Abram Ortels, the son of a native of Augsburg, 
was born at Antwerp. He became famous as a map-maker. In 1573 
he was appointed geographer to Philip H, and in 1577 visited the 
British Isles. His chief work, the Theatrum Orbis Terrarum, was 
first published in complete form in 1570. 

312 ABRAHAM ORTELIUS 

[On cartouche under portrait] Spectandum dedit Ortelius mortalib. 
orbem, \ Orbi spectandum Calleus Ortelium. 

Bust : to 1. 

Photo-process print after line engr.: oval. 3M x 2H; with ornamental border, rect., 
6x3J-'a. PI. to The Principal Navigations Voyages Trafiques àf Discoveries of the 
English Nation, by Richard Hakluyt, vol. Ill (Glasgow : 1903). 

This is a reproduction of the picture which was published in the Theatrum Orbis 
Terrarum (Antwerp: 1570). The same portrait, reversed, is in Justin Winsor's 
Narrative and Critical History of America, vol. IV (Boston and New York : [1884] ), 
copied from an engraving in J. F. Foppens's Bibliotheca Belgica, vol. I (1739). 
Philipp Galle (1537-1612), a draughtsman and engraver, was a native of 
Haarlem who settled at Antwerp in 1570 and became the founder of a celebrated 
family of engravers. 

PHILIP II 

21 May 1527 — 13 September 1598 

Philip II of Spain was the son of the Emperor Charles V and of Isabella 
of Portugal. Through his father, who retired from public life in 



69 

1555-1556, he inherited Spain, the Netherlands, a large part of Italy, 
and the Spanish overseas dominions; through his mother, Portugal 
and its possessions, of which he became sovereign in 1580. He thus 
held the combined Spanish and Portuguese claims to the whole of 
the Americas. In 1554 he married Mary, Queen of England. The 
later part of his reign saw the maritime wars against the Dutch and 
English which broke Spain's naval power and opened the New World 
to other nations. 

313 PHILIP II I TITIAN, THE PRADO, MADRID 

W. L. : to 1.; in body-armour; r. hand on helmet, 1. hand on guard of 

sword. 

Half-tone print : 8J^ x 4^8- PL to The Catholic Encyclopedia, vol. XII (New York: 

[1911] ). 

The original was completed probably early in 1551. Titian had made the sketch 
for it in November and December, 1550. 

314 Philip II. | of Spain. 

Same portrait. Bust : to r. 
Clipping. Stipple engr.: oval, 3M x 2J^. 

315 Title missing. 



Same portrait. Bust : to 1. 

Clipping. Line engr.: 4fi/i yi Zyi. Trimmed. 



316 [On guard] Philip II \ (Painting by Juan Pantoja. Madrid 
Museum) 

H. L.: to !.; with neck-rufï and high hat. 

Collotype : 53^ x 3%. PI. to The Complete Works of William H. Prescott : History of 

the Reign of Philip the Second, vol. I (New York : the Kelmscott Society). 

Juan Pantoja de la Cruz (1551-1609), a native of Madrid, who became eminent as 
an historical and portrait painter, received the patronage of Philip II and painted 
portraits of many members of the Spanish royal family. 

317 Fig. 152. — Philip II. in his old age. Painting bv Antonio More 
(1512-1588). (Madrid.) 

W. L.: to r. ; with neck-rufï and high hat; r. hand holding gloves on 
arm of chair, 1. hand on sword-hilt. 

Print : 6}^ x 3^. PI. to A History of All Nations, by J. H. Wright and others, vol. XI 
(Philadelphia and New York [1905] ). There is another copy, bust only, in The 
Complete Works of William H. Prescott, op. cit., vol. II. 

318 PLATE XIII. I I King Philip II. of Spain. | Painted by Peter 
Paul Rubens (1577-1640;. Madrid. (From a photograph.) | 
History of All Nations, Vol. XI., page 284. 

W. L.: on horse-back; to 1.; angel with garland following. 
Print : 6H x 4^. PL to J. H. Wright and others, loc. cit. 

319 PHILIP the II. K. of Spain &C. | [Facsimile of sign- 
manuel underneath.] 

Bust : to 1. ; with neck-rufï. 
Clipping. Line engr.: oval, 3 x 2J^ 



70 

ELIZABETH 

7 September 1533 — 24 March 1603 

Elizabeth, daughter of Henry VIII and Anne Boleyn, succeeded her 
sister Mary on the throne of England in 1558. During her reign war 
was waged with Spain, resulting in the break-down of Spanish 
maritime power and monopoly in the New World, and the first 
English settlements were established in Newfoundland and "Virginia". 

320 [On guard] Vt^fft ^rittCegg CUjabetï) I Painting of the school 

of I Holbein, in \ Windsor Castle 

H. L.: to 1.; with French cap, adorned with pearls. 

Photo-process print, in tint : 3 x lf4- Two others on same plate. PI. to Lives of the 
Queens of England, by Agnes Strickland, Imperial Edition, vol. VII (Philadelphia : 
[1902] ). 

321 Engraved by W.T. Fry. | QUEEN ELIZABETH, | THE 
FOUNDER OF OUR COLONIAL EMPIRE. | OB. 1603. | FROM 
THE ORIGINAL OF ZUCCHERO IN THE COLLECTION OF | THE MOST 
NOBLE THE MARQUIS OF SALISBURY. 

[On picture] NON SINE SOLE | ISIS 

T. Q. L.: to 1.; with jewelled and plumed headdress; holding rainbow 
in r. hand. Robe embroidered with eyes and ears, and serpent on 1. 
sleeve. 

Stipple engr.: 4?^ x35^; with ornamental border, about 8J^ x 6J^. PI. to The 
British Colonies; their history, extent, condition and resources, by R. Montgomery 
Martin, vol. I (London and New York). 

322 Another copy, with addition to title: JOHN TALLIS & COMPANY. 
LONDON & NEW YORK. There is another print of this portrait in Magazine of 
American History, vol. XIII, June, 1885, and XXIX, January, 1893. 

323 Zucchero. Phillibrown. \ QUEEN ELIZABETH. I OB : 1603. 

Same picture. H. L. In octagonal frame. 
Clipping. Stipple engr.: 3% x 2%. 

324 Copyright 1901 by G. Barrie & Son [On guard] ^O-Calleb (tXtVliVlt 

^OVtVSlit I Painted by F. Zucchero; in the posses- \ sion of Marquis of 
Salisbury, | Hatfield House 

Nearly H. L.: to 1.; with wide radiating lace neck-ruff, unbroken. 

A different picture from preceding. 

Photo-process print in tint : 3% x 2H- PI- to Agnes Strickland, loc. cit. 

325 Swan Electric Engraving C° | Quccn Elizabeth. \ From a painting 
probably by Federigo Zuccaro in the Picture Gallery at Siena. 

T. Q. L.: to 1.; with frill neck-ruff; colander in 1. hand. Group of 
courtiers in r. back-ground. 

Photogravure : 5}i x 4. PI. to The Anglo-Saxon Review, vol. II, September, 18W 
(London and New York). 

This picture resembles closely one of apparently slightly earlier date which is in 
Holyrood Palace. 

326 ELIZABETA D. G. ANGLI/E, FRANCIS, HIBERNI/E, ET 
VERGINI^ I REGINA CHRISTIANAE FIDEI VNICVM 
PROPVGNACVLVM.j Immortalis honos Regum, cui nan tulU atas \ 



71 

Vila prior, veniens nee fer et vlla parent, \ Sospite quo nunquam 
terras hahitare Britannas \ Desinet alma Quies, Iiistilia atque Fides, | 
Queis ipsœ tantum superant reliqua omnia regna, \ Quantum tu 
maior Regibus es reliquis, \ Vine precor felix tanti in moderamine 
regni, \ Dum tibi Rex Regum caslica regna paret. \ In honorent serenissimat 
Suae Maiestatts hanc effigiem fieri curabat loannes Woutnelius belga Anno 1596. 

W. L. : to r. ; with radiating neck-rufF, unbroken ; holding sceptre and 
orb, and wearing diadem. Between two columns surmounted by 
phoenix, that to 1. carrying coat of arms; table with open book to 1.; 
land and sea in background. 

Photogravure from line engr.: 5x4. PI. to The Principal Navigations Voyages 
Trafiques &" Discoveries of the English Nation, by Richard Hakluyt, vol. I (Glasgow : 
1903). 

The engraver of this picture is not known. It has been ascribed to Crispin Van de 
Passe, and also to one of the brothers Anthonie, Hieronymus, and Jan Wierix, who 
flourished at Antwerp from about 1562 to about 1618. 

327 II. WILLIAM ROGERS. | Portrait of Queen 
Elizabeth. 

[Legend on original] 

Th' admired Empresse through the worlde applauded, 

For supreme virtues rarest Imitation : 

Whose Sceptres rule James lowde-voyc' d trumpet lawdeth, 

Unto the ear es of euery forraigne Nation. 

Cannopey'd under powrefull Angells winges 

To her Immortal] praise sweete Science singes. 

Willins Rogers sculp. 

W. L.: toi.; with radiating neck-ruff, open in front, and high ruflF 
behind; crowned; holding sceptre in r. hand, orb in 1. hand. In 
room, throne in r. background, window to 1. 

Reproduction of line engr.: 15-!^ (with cartouche bearing legend) x 10. In 
Reproductions of Prints in the British Museum, New Series, Part IX (1900). 

William Rogers (c. 1540 — c. 1604) was one of the earliest English engravers. He 
is known to have been working in London 159- to 1604. This portrait of Elizabeth 
seems to be based on a picture by Olivier, of which a pen drawing on vellum in the 
royal collection at Windsor is believed to be the original. Isaac Olivier, or Oliver, 
(c. 1556-1617) was a resident of London, probably of French extraction, who be- 
came famous as a miniature painter. 

328 PLATE XXII. | | Queen Elizabeth of England. | Reduced 
facsimile of an engraving by Crispin van Passe {circ. 1560-1630), from 
the I painting by Isaac Olivier (1556-1617). | History of All Nations. 
Vol. XL, page 419. 

Similar portrait. To r.; table to r., with bible and sword; coat of 
arms in upper r. hand corner; dates of birth and death on face of 
picture. 

Print after line engr.: 6)4, x 4}^. PI. to A History of All Nations, edited by 
J. H. Wright and others, vol. XI (Philadelphia and New York : [1905] ). 

329 ElIZABETHA ReGINA | Diua patens velis, populoque 
potentior, aequat \ Ingenis Reges, et pietate Decs 

Similar portrait. More than H. L.: to 1.; without high ruff at back 
of neck; sceptre in r. hand, orb in 1. hand. Niche in background. 
Line engr.: S% x 4^. PI. to HerCjiologia Anglica, by H [enry] H [oUand] (1620). 



72 

330 Eng'l by P. Audh,et. \ QUEEN ELIZABETH. | Pub- 
lished Ji^' July 1812, by I. Stockdale, Piccadilly. 

Nearly H. L.: to I. Resembles preceding. 

Line engr.: 3% x iyi- PI- to Naval History of Great Britain, including the History 
and Lives of the British Admirals, by John Campbell, vol. 1 (London : 1813). 

Philip Audinet (1766-1837) was a London engraver, descendant of a Huguenot fam- 
ily. 

331 Title missing. 

Same portrait. 

Clipping. Line and stipple engr. : 4Ji x 3Ji. Trimmed. 

332 Title missing. 

Similar to preceding, but with variations in details. Sceptre to r. 
Clipping. Stipple engr.: oval, 3M x 2J^. Trimmed. 



333 QUEEN Elizabeth. 



Same portrait, reversed. H. L.: sceptre in r. hand. In oval frame, 
with ornaments. 

Clipping. Line engr.: oval, 3Jix2j^; with ornamental border, rect., 6J^ x 3J^. 
Trimmed. 

334 Gravure Andersen — Lamb Co., N.Y. [On guard] QUEEN ELIZABETH \ 
Painting attributed to Federigo Zucchero. In the National Por-| trait Gallery, 
London, England. 

H. L.: to 1.; with radiating neck-ruff, open in front; orb in 1. hand. 

Photogravure : 5M x 3%. PI. to Elizabethan Sea-Dogs, by William Wood (New 
Haven, etc.: 1918). 

The attribution to Zucchero is improbable. The picture has a general resemblance 
to that by Isaac Olivier. 

335 [On guard] (Bli}Slhtfi) IXl (Blh MqC \ Painting by Marc Garrard \ 
the Elder, \ in Hampton Court 

Nearly H. L.: to r. ; locket (George ?) in r. hand. 

Phoio-process print, in tint : 3 x IJ^. Two others on same plate. PI. to Agnes 
Strickland, loc. cit. 

Marc Geeraerts (the name is variously spelled Gheeraerts, Geerarts, Garrard, Gerard), 
the elder, (1510?— c 1590) painter and engraver, was a native of Bruges. Having 
embraced the reformed religion, he fied to England about 1568. He was probably 
accompanied by his son. Marc Geeraerts the younger (1561-1635), who became famous 
as a portrait painter. Several portraits of Elizabeth sometimes attributed to the 
father seem to be due to the son. 

336 QUEEN ELIZABETH | From the portrait at Ditchley belonging to 
the Viscount Dillon | Face p. 68 

W. L.: to 1 .; in elaborate dress; with radiating neck-ruff, open in 
front, and high ruff at back; fan in r. hand, gloves in 1. hand. 
Half-tone print : 7H x A%. In the collection of Historical Portraits chosen by Emery 
Walker and published by the Clarendon Press, vol. I (1909). 

337 Engraved by w. Hoii. \ ELIZABETH. | FroTTi the Picture in 

His Majesty's Collection | at S^ James's Palace. \ Under the 
Superintendence of the Society for the Diffusion of Useful Knowledge. | 
London, Published by Charles Knight, Ludgate Street. 



73 

H. L.: to 1.; with radiating neck-rufF, open in front, and ropes of 
pearls falling from shoulders. 

Stipple engr.: 5}4 x 4yi. PI. to The Gallery of Portraits, vol. VI (London : 1836). 
There is a reproduction in The Genesis of the United States, by Alexander Brown, 
vol. I (Boston and New York : 1890). 

338 Title missing. 

Nearly H. L.: slightly tu r. ; with diadem, radiating lace ruff, open in 

front, strings of pearls. In ornamental frame. 

Clipping. Line engr.: oval, 3}ix2j^; with ornamental border, rect., iJi x 3%. 

Trimmed. 

339 ELIZA:BETHA. [On tablet] Fortissimo \Consultissimoq \Viro D: EG ID I0\ 

STRANGWAYS Armigero \ Serenissimi Dm: nostri \ Caroli 11'^*: Regis i I 
Sanctioribus Consilijs | Domini lohannis \ Slrangways Equilis \ Aurali Primogenito] 
Hoc Elizabelha | Reginae sigillum \ D D D. F. S. [Obverse and reverse of 

seal : inscription in border] ELIZABETHA DEI 

GRATIA ANGLIE FRANCIE ET HIBERNIE 
REGINA FIDEI DEFENSOR 

Obverse. W. L.: seated on throne, with crown, sceptre, and orb; 
hand from clouds on either side holding ermine robe. Reverse. 
W. L.: on horseback; to 1.; with crown, sceptre and orb. 

Line engr.: each, 4J| diam.; with border, 5^. PI. to A Genealogical History of the 
Kings and Queens of England and Monarchs of Great Britain, by Francis Sandford and 
Samuel Stebbing (London : 1707). 

340 Tumuli Elizabethe Reginae vera deliniatio 

The monument, with recumbent effigy, in Westminster Abbey. 
Line engr.: 6 x 4J^. PI. to Herioologia Anglica, by H [enry] H [oUand] (1620). 

HENRY IV 

14 December 1553 — 14 May 1610 

Henry de Bourbon, King of Navarre, descendant of Louis IX, succeeded 
to the French throne on the death of Henry HI, the last of the Hne of 
Valois, in 1589. He brought the Wars of Religion in France to an 
end, and did much to consolidate the power of France and of the 
French monarchy. During his reign the first permanent French 
settlements were made in Canada. 

341 Engraved by T. Wooinoth. | HENRY IV. | From the Original 
Picture by Porbus \ in the Collection of the Musée Royal, 
Paris. I Under the Superintendance of the Society for the Diffusion 
of Useful Knowledge. | London, Published by Charles Knight, Ludgate Street, 
&• Pall Mall East. 

H. L.: head slightly to r.; 1. hand on hip; with neck and sleeve ruflfs, 

and cross of Saint Esprit. 

Stipple engr.: 5x4. PI. to The Gallery of Portraits, vol. Ill (London : 1834). 

342 2(2 Belliard Porbus pinx{ \ Imp. Luh. Je Delpech. \ 

HENRY IV. I Roi de France. \ Tire du Musée Royal 
de France. 



74 

Same portrait, reversed. Slight modifications in treatment. Nearly 
H. L. 

Lith.: about 9 J^ X 9. PI. to Iconographie Française, by Madame Delpech, vol. I 
(Paris : 1840). 

343 PLATE XXIII. | | Henry IV., King of France. | Painting 
by François Porbus the younger (1570-1622). Paris, Louvre. (From 
a photograph.) | History of All Nations, Vol. XL, page 424. 

Same portrait. W. L.: head slightly to r.; r. hand on table. 

Print : 7Ji x 4^g. PI. to A History of All Nations, edited by J. H. Wright and 
others, vol. XI (Philadelphia and New York : [1905] ). 

Francis Porbus, or Pourbus, (1569-1622) was a son of the elder Francis Porbus and 
a native of Antwerp. He worked also in Italy and France. He painted several 
portraits of Henry IV. 

344 [On tablet on pedestal] HENRI IV dit LE GRAND | LXif. Roy de 
France, \ Mori à Paris le 14 mai 1610, \ après 21 an de règne. \ L. LegranJ tculp. 

Bust : to 1.; head in profile; wearing body armour and laurel wreath. 
In oval frame on pedestal. 

Line engr.: oval, 2J^ x 2>^; with border, rect., 4?^ x 2J^. PI. to Mémoires de 
Maximilien de Bethujie, duc de Sully, vol. I (London : 1763). 

Louis Legrand (c. 1730 — c. 1784) was a French engraver whose work was done 
chiefly in book illustration. 

345 [On pedestal] HENRY . IV. | Surnam'd the Great LXI I d King 

of France | Died at Paris May 14^^ 1610. after \ Reigning 21 Years. 

Same portrait. 

Clipping. Line engr.: oval, 3 x 2%; with ornamental border, rect., 5x3. Trimmed. 

346 London Mag. Jan. 1777. | | HENRY IV. K. of FRANCE. | 
From an Original Painting. 

Similar portrait, modified. 

Line engr.: oval, 3J^ x 2J^; with border, 4 x 3H. PI. to The London Magasine, 
January, 1777. 

347 Wooding sc. I Henry IV. | king of France and 

NAVARRE. 

Bust : to 1. 

Clipping. Line engr.: oval, 3Ji x 3yé. 

Wooding was an English line engraver who practised towards the end of the 
eighteenth century. 

348 Sully's Memi Vol. 2'f \ \ Engraved by E. Scriven. \ HENRY THE 

Fourth. 

Bust : to 1. 

Stipple engr.: 3i4x2fi; with border, 3% x 2%. 

Edward Scriven (1775-1841) was an English engraver of considerable ability. 

349 HENRY IV I Of France and of Navarre 

[In list of Illustrations] From an etching by E. Boilvin published in 
Lettres Intimes de Henry IV. par L. Dussieu. 



75 

H. L.: to I.; wearing hat with high crown, and neck-ruff. 

Photo-process print : 4Ji x 3}^. PI. to The Genesis of the United Stales, by Alexan- 
der Brown, vol. I (Boston and New York : 1890). 

Emile Boilvin (1824-1899) was a French painter and engraver of much talent. The 
Lettres Intimes de Henri IV, by Louis Etienne Dussieux, was published in 1876, 

350 Juv. Lib. I HENRY THE FOURTH. 

Bust : head slightly to r. 
Clipping. Stipple engr.: about i ■x. 3. 

HENRY HUDSON 

? — 1611? 

Henry Hudson, an English navigator, made two voyages, in 1607 
and 1608, in an attempt to discover a northern or north-eastern passage 
to China. In 1609 he examined the coast of America for the Dutch 
East India Company and explored New York harbour and Hudson 
river. In 1610 he was sent by an Enghsh company to seek the North 
West Passage: he sailed through Hudson Strait and Bay, and wintered 
probably at the south-west end of James Bay. When about to sail 
for home his crew mutinied and cast him adrift, June 22, 1611. 

351 Hendrick Hudson. 

Bust : to r.; with neck-ruff. 

Woodcut : 2H diam. In Lossing's Field-Book of the Revolution I (New York : I860)' 

Based on a fictitious eighteenth century portrait in the New York city hall. 

THE COMTE DE SOISSONS 

3 November 1566 — 1 November 1612 

Charles de Bourbon, Comte de Soissons, son of Louis I, Prince de 
Condé, was one of the most prominent of the French nobility in his 
time. In 1602 he was made governor of Dauphiné, in 1610 of 
Normandy, and on October 8, 1612, was appointed viceroy of New 
France. 

352 [In frame] CHARLES DE BOVRBON, 

CONTE DE SOISSONS. G.M.D.E. 

[Under picture] 

La frayeur des mutins; est dessoubs d'esté aermure, 
Et la feurté des bons, et l'espoir des captifs: 
Tant que ce demi-dieu sera nombre des vifs, 
La paix habitera la terreuse demeure. 

Tho. de Leu. fee. Daigaliers. 

Nearly H. L.: to 1.; in body armour. 

Clipping. Line engr.: oval, 4 x 3%; with border, rect., 4Ji x 3Ji. Trimmed 

353 CHARLES DE BOURBON, COMTE DE SOISSONS. 

Nearly H. L.: slightly to 1. 
Clipping. Print : 4Ji x 3. Trimmed. 



76 

HENRY, PRINCE OF WALES 

19 February 1594 — 6 November 1612 

Henry Frederick, eldest son of James I and Anne of Denmark, was 
created Prince of Wales on June 4, 1610. He was interested in western 
discovery, and became a friend of Sir Walter Raleigh and a patron of 
the Virginia colony. To him was dedicated Erondelle's translation 
of part of hescarhot' s Histoire de la Nouvelle France, published in London 
in 1609. It is said that he drew up the instructions for Button's 
expedition to Hudson Bay in 1612, and when the charter of the North 
West Passage Company was granted, July 26, 1612, he was named 
"supreme protector". 

354 Fig. 1424. Miniature of Henry, Prince of Wales | 

By Nicholas Hilliard, inscribed "A. D. 1607. Aetatis suae 14." | 
Collection : H. M. the King, Windsor Castle 

H. L.: to 1.; in lace collar and body armour. Plumed helmet to 1. 

Half-tone print : oval, 2^x2. In A Record of European Armour and Arms, by Sir 
Guy Francis Laking, vol. V (London : 1922). 

355 [Under picture, in three columns] Spes patris et patriae fat orum \ 
lege peremtus \ Ante diem, lachrimas et inana \ vota 
relinquo \ \ Hee that the Life of this Face euer saw \ The 
MiLDNES in it noting, and the AVE \ Will iudge that PEACE, did 
either in her LOVE \ So soone aduance hem to hir STATE aboue \ \ Or else 
in Feare that Hee would Warrb preferre \ Concluded with HiM 
Hee should Live with \ To both, His aptnes flueutlie 
ap^eares; \ In eiirie SOLDIERS greife SCHOLLEES teares 

W. L.: tor.; head in profile; exercising with a lance-shaft. Helmet 
on ground to 1.; crest in upper 1. hand corner. 

Linéengr.: 5)4, -x. iYs. PI. to Hero)ologia Anglica, hy H [enry] HfoUand] (1620). 

This is adapted from an engraving by Simon Van de Passe, published in 1612. 

356 ISAAC OLIVER | | [From the miniature at Windsor Castle j 

HENRY, PRINCE OF WALES 

Nearly H. L.: to r. ; looking to front; with body armour and lace rufï; 
military camp in background. 

Half-tone print : AVii-x.2%. PI. to Bryan's Dictionary of Painters and Engravers 
edited by G. C. Williamson, vol. IV (London : 1915). 

357 PETER OLIVER | | [From the miniature at Belvoir Castle | 

HENRY, PRINCE OF WALES 

Bust : to 1.; looking to front; with body armour and lace rufï. In 
frame. 

Half-tone print : oval, 2}4xlM; with frame, 3}^ x 2%. PI. to Bryan's Dictionary 
of Painters and Engravers, edited by G. C. Williamson, vol. IV (London : 1915). 

Peter Oliver (c. 1594-1648) was the eldest son of Isaac Oliver, or Olivier. He be- 
came a very notable miniature painter: the portrait of Prince Henry is considered 
one of his best works. 



77 

358 Fig. 1436. Portrait of Henry, Prince of Wales | 

By Sir Antony Vandyck, after Van Somers. The Prince is wearing 
the suit I of armour illustrated in Fig. 1435. Collection : H. M. | 
the King, Windsor Castle 

W. L.: to r.; in armour; r. hand holding truncheon, 1. hand on hilt of 
sword. Helmet on table in r. background. 

Half-tone print : T% x 3%. In A Record of European Armour and Arms, by Sir Guy 
Francis Laking, vol. V (London : 1922). 

359 HENRY FREDERICK, PRINCE OF WALES | From the portrait 
attributed to J. van Miereveldt, at Claydon House | belonging to Sir 
Harry Verney, M.P. 

Nearly W. L.: seated; to r.; with rufï, ermine-trimmed robe, and collar 
of the Garter; baton in 1. hand. 

Half-tone print : 4?^ x 3^. In the collection of Historical Portraits chosen by Emery 
Walker and published by the Clarendon Press, vol. II (1911). 

360 VII. ANONYMOUS. | Portrait of Prince Henry, 
eldest son of James I. 

[On medallions on original] THE | MOST HIGH AND | MIGHTY 
Prince Henry, | eldest Sonne to the king | our Soueraine Lorde, | 

Prince of great Brittay, | and Ireland, Duke of Corn: | wall, & 
K^ of y^ most noble \ order of y^ Garter. \\ Are to be soidd in \ 
Popes head Alley by lohn | Sudbury and George \ Humble. 

[Under picture] 

Hee that the LIFE of this FACE euer saw; \ 

The MiLDNES in it noting, and the AwE;| 

will iudge that PEACE, did either in her LOUE, | 

so soone adiiance him to her STATE aboue; \ 

Or else in Feare that Hee would Warre preferre;\ 

concluded with Him, Hee should LIVE with Her. | 

To both His aptnes, fiuentlie appeares;\ 

In eu rie SOLDIER'S greife, &" SCHOLLER'S teares 

W. L.: to r. : in cloak; 1. hand on hilt of sword; throne to 1., with 
Prince of Wales' crest; coronet on table to r., with royal arms above. 

Reproduction of line engr.: 15J^ (with legend. 16) x 11?^. In Reproductions of Prints 
in the British Museum, New Series, Part IX (1900). 

This engraving, which was, doubtless, published immediately after the prince's 
death, is judged to be the work of Raygnald, or Renold, Elstracke (j?. c. 1598-1625), 
an emigrant from the Low Countries whose life as an engraver was spent entirely 
in London. 

361 [Inframe] HENRICVS PRIN. WALLI>E 

MAG. BRIT. REG. PRIMOGEN ITVS 

[In segment at bottom] I C H D E I N [Under picture] Spes patris, 
et patrise, fatorum lege peremptus \ Ante diem, lachrimas et 
inania vota relinqo 

Bust : to r.; eyes directed to 1.; in neck-rufif and body armour. 
Resembles the portrait by Isaac Oliver. 

Line engr.: oval, 5 x 3%; with margin, rect., 5% x 4J^. PI. to Her(ùologia Angtica, 
by H [enry] H [olland] (1620). 

362 Engraved by W. Finden. | HENRY, PRINCE OF WALES. | 
OB. 1612. I FROM THE ORIGINAL OF MYTENS. IN THE COLLEC- 
TION OF I HIS GRACE, THE DUKE OF DORSET. | London. 

Published Sepf. 1, 1830, by Harding àf Lepard, Pall Mall East. 



78 

T. Q. L.: to r.; in armour, with lace ruff; r. hand on end of baton, 
1. hand on hilt of sword. 

Stipple and line engr.: 5 x 3M- P'- to Portraits and Memoirs of the most illustrious 
personages of Brttish History, by Kdmund Lodge, 3id éd., no. XXII (London : 1830). 

Daniel Mytens (c. 1590-C.1656), a native of The Hague, came to England about 
1618 and was employed as a portrait painter at the court of James I and Charles I. 
He returned to Holland about 1630. If the portrait of Prince Henry is by him it is 
probably a copy of an older painting. William Finden (1787-1852), English line 
engraver, was a celebrated producer of prints and book illustrations. 

363 Crudeli crudaqz Patri patriœqz ruina | Rapius, ut œtheris insereretur 

aids I HENRICVS modicœ {Sanctum Caput) inditu^ Vrne | Maximus 
Ille, sua in genitore minor I Hugo Hollandus fleuit | | Whome all the 
vast frame of the fixed Earth \ Shrunck under, now a weake Herse stads 
beneath \ His ffate he past in fact; in Hope his Birthe | His Youth, in 
good life & in Spirit his Death \ Gio Chapman 

Representation of the body of the prince lying in state under a 

catafalque. 

Line engr.: S% x 4^- PI- to Hero)Ologia Anglica, by H [enry] H [oUand] (1620). 

This is a copy of an engraving by William Hole, published in George Chapman's 
Epicede (1612). Of Hole little is known : he was working in London about 1612-15. 



CHARLES DE MONTMORENCY 

C. 1537 — 1612 

Charles de Montmorency, Due de Damville, known in earlier life 
as the sieur de Meru, was the son of Anne de Montmorency, constable 
of France. On January 21, 1596, he was appointed admiral of France 
and Brittany. Champlain dedicated to him the account of his first 
voyage to Canada, the Des Sauvages of 1603. 

364 CHARLES DE MONTMORENCY | Admiral of France 
and Brittany 1596-1612. | To face p. 85. 

[Original title] CHARLES . DE . MONTMORENCY . DVC . DE . 
DAMVILLE . PAIR . DE . FRANCE . | CHLR . DES . ORDRES . 
DV . ROY . LIEVT . GNAL . AV . GOVVT | DE . PARIS . | ET . 
ISLE . DE . PR . COLONEL . GENERAL . DES . SVISSES . 
AMIRAL . I DE . PR . ET . DE . BRETAGNE . EN . 1696 . 
MORT . EN . 1612 . A . 75 . ANS. 

H. L.: to 1.; with neck-ruff and ermine scarf. Coat of arms below. 
Half-tone print from line engr.: oval, about 3% x 3H; wjth border, rect., 4}^ x 3J4', 
including margins of original, 6}^ x 4H. PL to The Works of Samuel de Champlain. 
edited by H. P. Biggar and others, vol. I (Toronto : The Champlain Society, 1922), 

HENRY HOWARD, EARL OF NORTHAMPTON 

25 February 1540 — 15 June 1614 

Henry Howard, Earl of Northampton, second son of the Earl of Surrey 
who was beheaded in 1547, exercised much influence at the court of 
James L He was a member of the Newfoundland Company and of 
the North West Passage Company. 



79 

365 HENRY HOWARD | First Earl of Northampton 

[In list of Illustrations] From H. Robinson's engraving of the 
original of Zucchero in the collection of the Right Honorable the Earl 
of Carlisle in 1834. 

Bust : to 1.; with high hat, neck-ruff, and insignia collar, with George. 
Photo-process print : 4}^ x 3H- PI- to The Genesis of the United States, bf 
Alexander Brown, vol. II (Boston and New York : 1890). 



MARGUERITE DE VALOIS, QUEEN OF FRANCE 

14 May 1553 — 27 March 1615 

Marguerite, daughter of Henry II of France and Catherine de' 
Medici, was married to Henry of Navarre, afterwards Henry IV, in 
1572. This marriage was annulled by the Pope in 1599. 

366 Z'H Belliard \ uih. i. D.i,ech \ MARGUERITE DE 

FRANCE, I Femme de Henry IV. \ Tiré du Musée 
royal de France. 

Nearly H. L.: to r.; with neck-ruff open at front, and strings of 

pearls. 

Lith. : about 10 x 9. PI. to Iconographie Française, by Madame Delpech, vol. I 

(Paris : 1840). 

GILBERT TALBOT, EARL OF SHREWSBURY 

20 November 1553 — 8 May 1616 

Gilbert Talbot, seventh Earl of Shrewsbury, was a member of the 
North West Passage Company. 

367 GILBERT TALBOT | Seventh Earl of Shrewsbury 

[In list of Illustrations] From an old engraving of "an Original 
Picture in the possession of Mr. Clarke," 1788. 

Bust : slightly to 1.; with high hat and neck-ruff. 

Photo-process print : oval. 4x3^. PI. to The Genesis of the United States, by 

Alexander Brown, vol. II (Boston and New York : 1890). 

LORD ELLESMERE 
C. 1540 — 15 March 1617 

Sir Thomas Egerton, Baron EUesmere and Viscount Brackley, rose 
to prominence in the English law courts and was appointed successively 
solicitor-general, attorney-general, master of the rolls, lord keeper, 
and lord chancellor. He was a member of the North West Passage 
Company. 

368 THOMAS EGERTON | First Baron EUesmere 

[Around portrait] HONORATISS : D^g THOMAS 
EGERTONUS BARO DE ELLESMER ANGLIC , 

CANCELLArig. [In list of Illustrations] From the engraving 
published by VV. Richardson, Castle Street, Leicester Square, in 1794. 



80 

H. L.: to r.; with neck-ruflF and collar of SS. 

Photo-process print : oval, 4% x 33^. PI. to The Genesis of the United States, by 
Alexander Brown, vol. I (Boston and New York : 1890). 

This engraving was based on that by Simon van de Passe. Simon (1591-c. 1644), 
son of Crispin van de Pass, or Passe, was established in London by his father about 
1613, but went to Denmark about ten years later. 



SIR WALTER RALEIGH 

C. 1552 — 29 October 1618 

Sir Walter Raleigh, or Ralegh, a native of Devon, half-brother of Sir 
Humphrey Gilbert and cousin of Sir Richard Grenville, was a soldier 
and adventurer who rose to high favour at the court of Elizabeth. 
He had a large interest in Gilbert's expedition of 1583 to Newfoundland, 
and subsequently was the chief promoter of English attempts at 
colonisation in "Virginia". In 1603 he was condemned to death on 
a charge of conspiracy against James I, but the sentence was executed 
only after an expedition led by him in 1617 to discover a gold mine in 
South America had resulted in failure and a conflict with the Spaniards. 

369 SIR WALTER RALEIGH | From the portrait by Zuccaro in the 
National Portrait Gallery | Face p. 86 

[On face of picture] ^TATIS SVAE 34 | AN 1588 

H. L.: to 1.; cloak over 1. shoulder. 

Half-tone print : 6Js x 5K- In the collection of Historical Portraits chosen by 
Emery Walker and pubUshed by the Clarendon Press, vol. I (1909). There are other 
copies in The History of North America, edited by Guy Carleton Lee, University 
Edition, vol. I (Philadelphia : [1903] ), and Elizabethan Sea-Dogs, by William Wood 
(New Haven, etc.: 1918). 

370 Photogravure by Annan & Sons, Glasgow. | SIR WALTER RALEGH. 
T.Q. L.: to 1.; sash tied on 1. arm, r. hand apparently on baton. 

Photogravure : 5 x 3M- PI- to The Principal Navigations Voyages Trafiques &• 
Discoveries of the English Nation, by Richard Hakluyt, vol. IX (Glasgow : 1904). 

The original of this portrait, in the Dublin Gallery, is attributed, probably wrongly, 
to Zucchero. It is said to bear the date "aet. 44, 1598." 

371 Stalker sculp\ \ SiR WALTER Raleigh. | Published 30^!^ of July 
1812 by I. Stockdale Piccadilly. 

Nearly H. L.: to r.; with plumed hat and neck-rufï. 

Line engr.: 3^ x Syé. PI. to Naval History of Great Britain, including the History 
and Lives of the British Admirals, hy John Campbell, vol. I (London : 1813). There 
is a reproduction of this engraving in The Genesis of the United States, by Alexander 
Brown, vol. II (Boston and New York : 1890). 

372 [On scroll at top] Sir WALTER RALEIGH. 

Same portrait. In oval frame of masonry, with ornaments and 

emblems. 

Clipping. Line engr.: oval, 2^^ x 2^; with ornamental border, rect., 5^x3j4. 

Trimmed. 

This and the two following engravings are based on that by J. Houbraken, which 
appeared in Dr. Birch's Heads of Illustrious Persons of Great Britain (London: 



81 

1743-52). It was from the anonymous painting, dated 1602, now belonging to 
Sir Henry Farnaby Lennard, bart., in which Raleigh is represented with his son 
Walter. 



373 [On scroll at bottom] S^ Walter Ralcigh 



Same portrait : to 1. 

Clipping. Line engr.: oval, 3}^ x 2J-8. with ornamental border, rect., 6Ji x 3J^. 
Trimmed. 



374 S? WALTER RALEIGH. 



Same portrait. 

Clipping. Line engr.: oval, 3J^ x 3?^; with border, rect., \% x 35^. Trimmed. 

375 Engraved by J. Posseiwhite. \ RALEIGH. | FroTTi a Picture in 
the I Collection of the Duchess of Dorset. \ Under the Superin- 
tendance of the Society for the Diffusion of Useful Knowledge. | 

London, Published by Charles Knight, Ludgate Street. 

Similar portrait. H. L.: to 1.; 1. hand on belt. 

Stipple engr.: Sy^x i}^. PI. to The Gallery of Portraits, vol. VI iLondon : 1836). 

376 Engraved by H. Robinson. | SIR WALTER RALEIGH. | 

OB. 1618. I FROM THE ORIGINAL OF ZUCCHERO. IN THE COLLEC- 
TION OF I THE MOST NOBLE THE MARQUIS OF BATH. | 

London, Published Jany 1, 1829, by Harding &• Lepard, Pall Mall East. 

T .Q. L.: to 1.; with plumed hat; r. hand resting compasses on a table; 
scarf tied over r. shoulder. 

Stipple and line engr.: 4J^ x 4. PI. to Portraits and Memoirs of the most illustrious 
personages of British History, by Edmund Lodge, 3rd éd., no. Ill (London : 1829). 
The same plate, with ornamental border added, is in The British Colonies; their history, 
extent, condition, and resources, by R. Montgomery Martin, vol. I (London and New 
York). 

This picture is probably not by Zucchero. 

377 Sir Walter Rawleigh, K. \\ m. v^''-- gucm scuip 

Nearly H. L.: to r.; in body armour; r. hand holding truncheon and 
resting on globe. 

Line engr.: oval, 4M x 3^; with border, rect., 5% x 4. Three others on same plate. 
PI. to A Compleat Collection of Voyages and Travels, by John Harris, vol. II (London : 
1705). 

This engraving seems to be derived from that by Simon van de Pass (1591-c. 1644) 
which formed the frontispiece to Raleigh's History of the World (1617), 



ANNE OF DENMARK 
12 December 1574 — 2 March 1619 

Anne, daughter of King Frederick II of Denmark and Norway, was 
married to James VI of Scotland, November 19, 1589. On the death 
of Queen Elizabeth in 1603 she became Queen Consort of England. 

378 ANNE OF DENMARK | From the portrait by Paul van Somer in 
the National Portrait Gallery | Face p. 38 

Nearly H. L.: to r. 

Half-tone print : A% x 4. In the collection of Historical Portraits chosen by Emery 
Walker and published by the Clarendon Press, vol. II (1911). 



82 

Paul van Somer (c. 1576-1621), a native of Antwerp, came to England shortly after 
1604, and remained for the rest of his life. He practised portrait painting with much 
success. 

379 VI. SIMON PASSE. I Portrait of Anne of Denmark, 
Queen of James I. 

[In cartouche in upper 1. hand corner] The High and 

migh- 1 tie and most vertuous | Princesse ANNE 
Queene | of Great Britaine France | and Ireland &c. | 

A°: 1616. [At bottom] Simon Passœus fig.: et sculp: Londini. 

Compton Holland excud : ibid : 

[Under picture] 

Great EMPRESSE of the North, Admired Queen\ 

Thy like in BRITAIN, hath never yet bene seene. | 

The Daughter, Wife, and Sister to a KING: | 

Greatnesse and Goodnesse from thy GRACE doth spring. \ 

Des Dees des Vertus, vois le modelle uniq, \ 

L'Astre dont la splandeur, d'escrire on ne pouras.\ 

Vois Fille, et soeur de Roy; et Compagne pudiq \ 

D'un Roy le plus prudent qui règne ores ça bas. \ 

W. L.: on horse back; to 1.; feather fan in r. hand; coat of arms in 
upper r. hand corner; view of Windsor in r. background. 
Reproduction of line engr.: 11 (with legend, 12) x 8%. In Reproductions of Prints in 
the British Museum, New Series, Part IX (1900). 

380 Copyright 1903 by G. Barric & Son [On guard] ^UXXt Ot SBetttttarfe, 

(©UCttX OC ^aVXte X I After the Engraving by Jacobus Howbraken, 
made from the Painting, in Somerset House, by C. Johnson 

H. L.: to r. ; dress adorned with jewelled cross and strings of pearls. 

Photo-process print after line engr.: oval, 5H x 4>â. PI. to Lives of the Queens of 
England, by Agnes Strickland, Imperial Edition, vol. IX (Philadelphia : [1902] ). 

The engraving by Houbraken was published in Dr. Birch's Heads of Illustrious 
Persons of Great Britain (London : 1743-52). 



POPE PAUL V 
17 September 1550 — 28 January 1621 

Camillo Borghese, a native of Rome, was created cardinal in 1596 
and elected Pope May 16, 1605, succeeding Leo XI. 

381 Fig. 160. — Pope Paul V. Engraving by Crispin de Passe 

(1560 to about 1630). 

[On tablet at top] Creatus 15 maij' \ Anni 1605 [In segment at 
bottom] PAULUS V I PONTIF. IMAXIIVI' [Below 
picture] Regna adijt PETRIE LEO; PETRI sede locatus \ Gentibus 
est PAULUS PETR^ ouibusq PETRUS; | Hie FLORENTINO 
prognatus SANGUINE PASTOR | PETRA tuas viridj gramine 
PASCET OVES 

H. L.: seated; to 1. 

Print : oval, 5 x 4J^; with border, rect. In text of A History of All Nations, edited 
by J. H. Wright and others, vol. XI (Philadelphia and New York : [1905] ). 



83 
THE EARL OF SOUTHAMPTON 

6 October 1573 — 10 November 1624 

Henry Wriothesley, third Earl of Southampton, is best known as a 
patron of literature and a friend of Shakespeare. He served in the 
war against Spain during Elizabeth's reign, and, when hostilities were 
renewed in 1624, accompanied the English expedition to the Nether- 
lands, where he died. He had helped to send out Hudson's expedition 
of 1610, was an incorporator of the North West Passage Company 
in 1612, and was a promoter and for some time treasurer of the Virginia 
Company. 

382 Engraved by S. Freeman. | HENRY WRIOTHESLEY, EARL 

OF SOUTHAMPTON. | OB. 1624. | from the original of 

MIREVELT. IN THE COLLECTION OF | HIS GRACE, THE DUKE 
OF BEDFORD. | London, Published May l, .1830. by Harding &• Lepord, Pall 
Mall East. 

T. Q. L.: to r.; r. arm on chair. 

Stipple engr.: 4J^ x 3^. PI. to Portraits and Memoirs of the most illustrious personages 

of British History, by Edmund Lodge, 3rd éd., no. XXI (London : 1830). 

CHARLES HOWARD, EARL OF NOTTINGHAM 

1536 — 14 December 1624 

Charles, Baron Howard of Effingham, Earl of Nottingham, was 
appointed Lord High Admiral of England in May, 1585, a post he 
retained until 1618. He was commander-in-chief of the forces which 
resisted the Armada in 1588. He was a subscriber to Frobisher's 
voyages, 1576-78, and to Fenton's voyage, 1582, and was a member of 
the North West Passage Company in 1612. 

383 Engraved for the Military Dictior2ary.\\ CkarlcS Lovd HoWard 

of Effingham, \ Lord High Admiral of England. 

Nearly H. L.: to 1.; with embroidered cap, neck-ruff, and collar of the 
Garter with George. 

Line engr.: oval, 7x6. PI. to A New Military Dictionary: or, the Field of War 
(London : 1760). 

384 Engraved for the Universal Magazine. |1 CHARLES 

HOWARD Earl of NOTTINGHAM. | Printed for J. 

Hinton at the King's Arms in Newgate Street. 

Same portrait, reversed. In architectural frame, inset of naval 
battle below. 

Line engr.: oval, 3}^x2%; with ornamental border, rect., 6^x4. PI. to The 
Universal Magazine, vol. XXIX, December, 1761. 

385 F. Zucchero Pinx\ H. R. Cook SculpK \ CHARLES HOWARD EV OF 

NOTTINGHAM. | Xorîi ^iîgï) Sbmîtal of Cnglanb. | 

Published Aug^^ 31^\ 1807, by J. Gold 103 Shoe Lane London. 



84 

Same portrait. To 1. With coat of arms in title margin. 

Stipple engr.: oval. 3H x 3. PI. to The Naval Chronicle, vol. XVIII, July-December 
1807. 

The assignment of this portrait — the original of which was formerly in the collection 
of Henry Grey, Duke of Kent — to Zucchero is probably incorrect. Of H. R. Cook 
little is known, except that he was working as an engraver in London at the beginning 
of the nineteenth century. 

386 Williamson Sculp'. | EARL OF NOTTINGHAM. | Published 30^}^ 
July 1812 by I. Stockdale Piccadilly. 

Same portrait. 

Stipple engr.: 4 x 3}4- PI- to Naval History of Great Britain, including the History 
and Lives of the British Admirals, by John Campbell, vol. I (London : 1813). 

Thomas Williamson, an engraver of whom little is known, was working in London 
from about 1800 to 1828. 

387 Engraved by H. Robinson. | CHARLES HOWARD, FIRST 

EARL OF NOTTINGHAM. | OB. 1624. | from the 

ORIGINAL IN THE COLLECTION OF | THE RIGHT HON^^.^ THE 
EARL OF VERULAM.I London, Published Jan. 1, 1831, by Harding &• 
Lepard, Pall Mall East. 

Similar portrait. T.Q.L.: to r.; 1. hand on hilt of sword, r. hand on 
staff; the Armada seen through window to r. 

Stipple engr.: 4M x 3M- PI- to Portraits and Memoirs of the most illustrious person- 
ages of British History, by Edmund Lodge, 3rd éd., no. XXV (London : 1831). 



JAMES I 

19 June 1566 — 27 March 1625 

James, son of Henry Stuart, Lord Darnly, and Mary, Queen of Scots, 
succeeded as James VI of Scotland on his mother's abdication, July 24, 
1567. On the death of Elizabeth, March 24, 1603, he succeeded to the 
crown of England as James I. His reign saw the beginning of permanent 
English settlements in America. Charters were granted to the Virginia 
Company, the Newfoundland Company, and the North West Passage 
Company; special grants were made of "New England," "Maine," 
"Nova Scotia", and "Avalon"; and the creation of the order of 
"Baronets of Nova Scotia" was announced. 

388 Ravcnet sculp. | J AMES I. 

Bust : to 1.; with neck-ruff. 

Clipping. Line engr.: 3 diam.; with frame, 3J^. PI. to Smollett's History of 
England (1757). 

Simon François Ravenet (1706-1774) was a French engraver who settled in London 
about 1750. He was employed by Hogarth, and also by Boydell. This engraving 
is from the portrait by Van Somer in Hampton Court. 

389 Engraved by W. Ridley, from an Original Painting in Hampton Court. | JAMES I. 

Same portrait, reversed. Nearly H. L. 
Clipping. Stipple engr.: oval, 3Ji x 2}4- 



85 

390 JAMES I 

[In list of Illustrations] From Thomas Woolnoth's engraving of the 
original portrait by Vansomer. 

Same portrait. H. L.: to r. ; holding George with r. hand. 

Photo-process print : 4% x 3%. PI. to The Genesis of the United Slates, by 
Alexander Brown, vol. I (Boston and New York : 1890). 



391 [Below inset] J AMES I. 



Same portrait. Bust. In frame, on pedestal, with inset representing 

a joust, and supporters. 

Clipping. Line engr.: oval, 4>i x 3; with border, rect., 6}^ x 4}^. Trimmed. 

392 Fig. 1437. Portrait of King James I | Painted in 1611. 

On the left of the picture are shown portions of the armour I 
illustrated in Fig. 1435. The King is wearing the gorget of the suit. | 
Collection: H. M. the King, Holyrood Palace 

W. L.: to r. ; 1. hand on table, r. hand holding George. 

Half-tone print : 7^ x 4^. In A Record of European Armour and Arms, by Sir Guy 

Francis Laking, vol. V (London : 1922). 

393 Sherlock sculp. \ J AMES I. 

Bust : to r.; with neck-rufï and George. 

Clipping. Line engr.: 3J^ diam. 

This engraving is from a painting by Van Dyck. Anthonis (afterwards Sir Anthony) 
Van Dyck (1599-1641), one of the most famous of portrait painters, was a native of 
Antwerp. After one or two earlier visits to England he settled there in 1632 on the 
invitation of Charles I. He was appointed "Principal Painter in Ordinary to their 
Majesties at St. James's," and received the honor of knighthood. His portrait 
of James I is said to be from a miniature by Hilliard, of 1617. 

394 A. Van Dyke S. Allen \ JAMES. I^."^ 

Same portrait. 

Clipping. Stipple engr.: about 4Ji x 3J4. 

395 JAMES I I From the portrait probably by a German artist in the 
National Portrait Gallery | Face p. 34 

H. L.: to r. ; with high hat and neck-ruff. 

HaU-tone print : 7Ji x 5}4- In the collection of Historical Portraits chosen by 
Emery Walker and published by the Clarendon Press, vol. II (1911). 

396 Fig. 154. — James I., King of England. Painting of the Flemish school 
of the seventeenth | century. (Madrid.) 

W. L. : to r.; 1. hand on hilt of sword. 

Print : 6H x 3^. In A History of All Nations, edited by J. H. Wright and others, 
vol. XI (Philadelphia and New York : [1905] ). 

397 JOHAN FABER THE ELDER | | /« Indian ink and pencil] 
[De Pass Collection \ DRAWING OF JAMES I . [In frame] 
lACOBUS I By the Grace of God King of England Scotland 
France And Yrland Defendor of the Faith Obijt A° 1625 - 

Bust : to 1.; with plumed hat, neck-ruff, and ermine scarf. 
Half-tone print: 2% diam.; with margin, rect., 4Ji x 45^. PI. to Bryan's 
Dictionary of Painters and Engravers, edited by G. C. Williamson, vol. II 
(London : 1919). 



86 

Johan Faber the Elder (c. 1660-1721), a draughtsman and engraver, one of the first 
who worked in mezzotint, was a native of The Hague but came to England about 
1695. 

398 Engravdfor the Universal Magazine, il [Engraver's name erased] 
Publish' d according to Act of Parliam:. for I. Hinton, \ 
at the Kings Arms in S:. Pauls Church Yard 1751. 
[In frame] JAMES I. King of ENGLAND, SCOT- 
LAND, FRANCE Ô5 IRELAND. 

Nearly H. L.: to 1.; with neck-ruff and George; in frame of masonry, 

with ornaments. 

Line engr.: oval, 4>i x 3J^; with border, rect., (>% x 3>8. 

399 Granser. sculp. \ J AMES I. 

Bust : with rufï; to 1. 

Clipping. Stipple engr.: oval, 3% x 2}^. 

400 I AGO : BUS. [On tablet] Honoratissimo \ Domino Dn° \ THOMJB. 
DAVIES I jEquiti aurato, \ Civiiatis LONDON | Celeberrimœ, \ MAIORI; | 
Sigillum hoc \ lACOBI | Regis, H D. F S. [Obverse and reverse of seal : 
inscription in border] lACOBVS DEI GRATIA 

ANGLI.E SCOTIiE FRANCIS ET HIRER- 
NlJE REX FIDEI DEFENSOR 

Obverse. W. L.: seated on throne, with crown, sceptre, orb, and 
insignia collar; lion and unicorn on either side. Reverse. W. L.: on 
horse-back; to r.; in armour, with brandished sword, diadem, shield, 
and hound. 

Line engr.: each 5 diam.; with border, 5%. PI. to A Genealogical History of the 
Kings and Queens of England and Monarchs of Great Britain, by Francis Sandford 
and Samuel Stebbing (London : 1707). 



NICHOLAS VIEL 

? — June or July 1625 

Of the early life of Nicholas Viel, Récollet priest, called "the first 
martyr of Canada," little is known. He arrived at Quebec on June 
28, 1623, and after a few days left for the mission among the 
Huron Indians. When returning to Quebec two years later he was 
drowned by certain Hurons in the rapids henceforth known as the 
Sault-au-Récollet. 

401 LA STATUE DU PÈRE NIGHOLAS VIEL, RÉGOLLET | AU 

SAULT-AU-RÉGOLLET 

Statue. W. L., on pedestal : cross in r. hand, book in 1. hand. 
Half-tone print : 6J^ x 4. PI. to Les Monuments commémoratifs de la province de 
Québec, by Pierre Georges Roy, vol. II (Quebec : 1923). 

This monument was erected by the parishioners of Sault-au-Récollet on May 24, 
1903. 



87 

SIR THOMAS SMITH 

C. 1558 — 4 September 1625 

Sir Thomas Smith, or Smythe, a native of Kent, became the most 
notable EngHsh merchant of his time. He was prominent in all the 
great merchant companies, including the East India Company, the 
Moscovy Company, the Virginia Company, and the North West 
Passage Company, of which he was first governor. He assisted in 
sending out the North West expeditions of Hudson, Button, and 
Byleth and Baffin. His name was attached to Smith's Sound, between 
Ellesmere Land and Greenland. 

402 [In frame] VERA EFFIGIES PRiECLARISS^'.- 

VIRI DOM""': THOM^ SMITH EQVITIS 
AU RAT I ETC. [under picture] The honourable 

y Thomas Smith Knight, late Enibas- \ ador 

site e 

from his Ma- to y great Emperoiir\oJ Russie, Gouernour 

e ble nts 

of y Hon and famous | Societyes of Marcha tradinge 
to y East- \ Indies, Mnsscovy, the French and Somer \ 
Islands Company; Tre surer for Virginia, etc. \ simon Passaus 

sculp: Loud: A° 1616. | Jo: Woodall exc: 

H. L.: tor.; with high hat, neck-ruff, and furred gown; map in r. 
hand. Coat of arms in lower margin. 

Photo-process print from line engr.: oval, i%,^i^\ with border, 4M (including 
legend, 6%) x i%. PI. to Hakluylus Posthumus or Purchas His PiJgrimes, vol. II 
(Glasgow : 1905). There is another reproduction of this portrait in Narrative and 
Critical Hist,yry of America, by Justin Winsor, vol. Ill (Boston and New York). The 
same portrait, from an engraving by W. Richardson, York House, Strand, London 
1797, is in The Genesis oj the United States, by Alexander Brown, vol. II (Boston and 
New York : 1890). 

403 SIR THOMAS SMITH j From the portrait at Queen's College | 
Cambridge 

Bust : to 1.; with cap and neck-ruff. 

Half-tone print : 3% x 2%. Two others on same plate. In the collection of 
Historical Portraits chosen by Emery Walker and published .by the Clarendon Press, 
vol. I (1909). 

SIR HENRY HOBART 

? — 26 December 1625 

Sir Henry Hobart, who was appointed lord chief justice of the court 
of common pleas in 1613, was one of the incorporators of the North 
West Passage Company. 

404 SIR HENRY HOBART | Chief Justice 

[In frame] HONORATISS: d! HENRICUS hobart 
MI ET BARONETT : CAPI lUST : DNf REG : DE 



BAC [In cartouche beneath portrait] The \ Right Honorable 
5'^ Henry \ Hohartt Knight and Baronet, \ Lord Chiefe 
Justice of his Ma '^- Court of commo pleas \ Stmon Passaeus 
sculpsit. L I 1671 [In list of Illustrations] From his engraved portrait 
by Simon Pass, prefixed to his Law Reports. 

Bust : to r. 

Photo-process print: oval, i% x 2%; with ornamental border, rect., 6% x 3%. PI. 
to The Genesis of the United States, by Alexander Brown, vol. II (Boston and New 
York : 1890). 

In the original of this print the plate by Pass was re-worked and the date inserted. 



FRANCIS BACON 

22 January 1561 — 9 April 1626 

Francis Bacon, Baron Verulam, Viscount St. Albans, philosopher, 
statesman and essayist, was the son of Sir Nicholas Bacon, lord keeper 
of the great seal under Elizabeth. He became a law officer of the 
crown, and in 1607 was appointed solicitor-general, in 1613 attorney- 
general, in 1617 lord keeper, and in 1618 lord chancellor. In 1621 he 
was condemned and deposed on charges of accepting bribes. He 
wrote an essay "Of Plantations", was a member of council of the Vir- 
ginia Company, and was an incorporator of the Newfoundland Com- 
pany, 1610, and of the North West Passage Company, 1612. 

405 Engraved by J. Cochran. | FRANCIS BACON, VISCOUNT 

S. ALBAN. I OB. 1626. | from the original of van somer. in 
THE COLLECTION OF | THE RIGHT HON^^^ THE EARL OF 

VERULAM. I London, Published Jayi^. 1, 1829, by Harding b- Lepard. Pall 
Mall East. 

T. Q. L.: to r.; in high hat, neck-ruff, and brocaded robe; 1. hand 
holding paper and resting on table. 

Stipple engr.: 4% x 3%. PI. to Portraits and Memoirs of the most illustrious personages 
of British History, by Edmund Lodge, 3rd éd., no. V (London : 1829). Also in The 
British Colonies; their history, extent, condition and resources, by R. Montgomery 
Martin, vol. I (London and New York). 

406 FRANCIS BACON | From the portrait by Paul van Somer in the 
National Portrait Gallery | Face p. S2 

Same picture. W. L. 

Half-tone print : 1% x 4^. In the collection of Historical Portraits chosen by Emery 
Walker and published by the Clarendon Press, vol. II (1911). 

407 SIR FRANCIS BACON (viSCOUNT ST. ALBANS). | {From the Portrait by 
Van Somer.) 

Similar portrait, but bare-headed. Nearly H. L.: to 1. 
Clipping. Print : oval, 4>i x 4. 

408 FRANCIS BACON | First Viscount St. Albans [In list of Illustrations] From 
H. Wright Smith's engraving of the old print by Simon Pass. 

H. L.: to 1.; in high hat, neck-ruff, furred gown; paper in left hand, 
which rests on book. 

Photo-process piint : oval, 4x33^. PI. to The Genesis of the United States, by 
Alexander Brown, vol. I (Boston and New York : 1890). 



409 XI. WILLIAM MARSHALL. | Portrait of Francis 

Bacon. [Within laurel wreath at top of original] TERTIUS \ 

À PLATON E I PHILOSOPHISE \ PRINCEPS [In lower margin of 

original] QVOD FELICITER VORTAT REIP : 
LITERARIJE \ V. C. FRAN: DE VERVLAMIO 
PHILOSOPH: LI BERT AT I S \ ASSERTOR AVDAX, 
SCIENTIARV REPARATOR FELIX \ MVNDI 
MENTISQ MAGNVS ARBITER INCLYTIS \ MAX: 
TERRARVM ORBIS ACAD: OXON: CANTAB: Q. 
H ANC I SVAM INSTAVR: VOTO SVSCEPTO 
VIVVS DECERNEBAT \ OBIIT V NON: APRIL: 
II D: N: KAROLI. I. PP AVG: c\^ I)c. XXVI. | 

Will: Marshall scidpsil 1640. 

Nearly W. L.: to r.; seated at table, writing. 

Reproduction of line engr.: 7H (with legend, 9%) x SJ^. PI. in Reproductions of Prints 
tn the British Museum, New Series, Part IX (1900). 

William Marshall was an English engraver who flourished from about 1617 to about 
1649. This plate was the frontispiece to the edition of Bacon's Advancement of 
Learning published in 1640. It seems to have been adapted from the engraving by 
Simon van de Pass. 

410 Engraved by J. Posseiwhite. | LORD BACON. | From a Print by 
I. Houhrak.en 1738. \ Under the Superintendence of the Society 
for the Diffusion of Useful Knowledge. | London, Published by Charles 
Knight &= C° Ludgate Street. 

Nearly H. L.: to 1.; with high hat and neck-ruff. 

Stipple and line engr.: 4% x 4. PI. to The Gallery of Portraits, vo VII (London : 
1837). 

411 Title missing. 

Same portrait. 

Clipping. Line and stipple engr.: 5Ji x 4. Trimmed. 

THOMAS HOWARD, EARL OF SUFFOLK 

24 August 1561 — 28 May 1626 

Thomas Howard, son of the fourth Duke of Norfolk, served with dis- 
tinction at sea against the Spaniards under EHzabeth, and held impor- 
tant positions at court under James I, by whom he was created Earl of 
Suffolk. He assisted in sending out Henry Hudson in 1610, and was 
an incorporator of the North West Passage Company in 1612. 

412 THOMAS HOWARD I Fî>5< Ear/ o/5«#oZyfe [In frame] HONORATISS : 

D'. THOMAS HOWARD CO: SVFFOLCI^ ET TOTI' 

ANG: THEsAVFARI [in cartouche beneath portrait] The \ 
righte Honourable THOMAS: \ HOWARD Earle of Sugolke. Lorde 
Walden \ and Lorde Tresurer of England and one of his | Ma^''* 
most honble priuie Counsell and l^night of the | most noble Order of y' 
Garter. \ R. Elstracke sculp: 

H. L.: to 1.; in hat, neck-ruff, and coat, holding George in 1. hand. 

Photo-process print from line engr.: oval, 3}-^x2J^; with ornamental border, rect., 
5H X 3K. PI. to The Genesis of the United States, by Alexander Brown, vol. II 
f Boston and New York : 1890). 



90 

SAMUEL PURCHAS 

C. 1577 — September or October 1626 

Samuel Purchas, a native of Essex and a clergyman of the Church of 
England, published several works, the most important of which is 
Hakluytus Posthumus, or Purchas His Pilgrimes (London : 1625), 
based in part on papers collected by Richard Hakluyt, and 
including material relating to the English and French discoveries 
and settlements in America. 

413 Mat. 48. \ \ A nag: Samuel Pur cas | PARS SVA CELVM 

Nearly H. L.: slightly to r.; r. hand on open book. In frame on 

pedestal. 

Photo-process print : 1% x \]4. Inset on original title page of Purchas His PilgrimeS' 

reproduced in facsimile in vol. I of the edition published at Glasgow, 1905. There is 

another copy of this portrait, after an engraving by H. R. Cook, in The Genesis of 

the United States, by Alexander Brown, vol. I (Boston and New York : 1890). 

This is the only original portrait of Purchas now known. 

414 Same title : first line omitted. 

Same picture. 

Clipping. Line engr.: IJ^ x IJi; with border, rect., 2J4 x lyi. Trimmed. 

LOUIS HÉBERT 

? — c. 25 January 1627 

Louis Hébert, an apothecary of Paris, who had been one of Poutrin- 
court's colony in Acadia, came to Quebec in 1617, where he was the 
first settler to cultivate the soil as a means of livelihood. 

415 LOUIS HÉBERT, premier colon, 1617-1917. | Monument érigé à la 
gloire de l'agriculture. 

Statue. W. L. : figure surmounting high pedestal, on either side of 
which are figures of Hébert 's wife, Marie Rollet, and his son-in-law, 
Guillaume Couillard. 

Half-tone print : 5}4 x 35^. This is a separate print of the plate which forms the 
frontispiece to Les Premiers Colons du Canada, by the Abbé Couillard-Després [1918]. 
There is another view in Les Monuments commcmoratifs de la Province de Québec, by 
Pieire George Roy, vol. I (Quebec : 1923). 

This statue, which stands in the city hall square, Quebec, was unveiled September 
3, 1918. It is the work of the sculptor Alfred Laliberté (b.l878), who is a native 
of Ste. Elizabeth d'Arthabaska, Quebec. 

416 LOUIS HÉBERT. REPRODUCTION INTERDITE. 

Same statue. Figure only. 

Half-tone print : SJi x 3 Jis. In text of the Abbé Couillard-Després, op. cit. 

THE MARQUIS DE THÊMINES 

C. 1553—1 November 1627 

Pons de Lauzières, Marquis de Thémines, one of the leading soldiers 
of France, executed the order for the arrest of the Prince de Condé 



91 

on September 1, 1616, and was rewarded with the rank of marshal 
and appointment to Condé's office of viceroy of New France. He 
retained this position until Condé's release in 1619. 

417 Pons de Lauzieres Chr des Ordres du Roy Con^'' en ses \ 
Conseils Seigr &" Marquis de Themines Capitaine de cent \ 
hommes d'armes de ses Ordonnances Lieutenant pour 
sa I Maiesté au Gouuernement de Bretagne Maréchal de 

France. | B. Moncomet excudil 

Nearly H. L.: in neck-ruff and body armour. Battle scene in 1. back- 
ground; coat of arms and laurel wreath in upper corners outside 
frame. 
Line engr.: oval, 5}^ x 4. 

THE SIEUR DE MONTS 

C. 1558 — c. 1629 

Pierre du Guast, or du Gua, Sieur de Monts, a native of Le Gua in 
Vendée, was an adherent of Henry IV in the civil wars. He accom- 
panied the expedition of Chauvin to the St. Lawrence in 1600, and 
seems to have made other voyages to America. In 1603 he was appoin- 
ted lieutenant-general and vice-admiral of Acadia. In 1604 he 
led the expedition which founded the settlement at Ste. Croix, trans- 
ferred by him in the following year to Port Royal. In 1608 he sent 
out the expedition which founded Quebec. Although taking no 
further active part in its affairs he remained interested in the country 
until his death, which took place, apparently, between 1628 and 1632. 

418 441 I 1603. I Pierre du Gua, Sieur de Mons, gentilhomme ordinaire 
de la Chambre du Roy et Gouverneur de Pons. | | Sieur de Mons. | 
Copied from a portrait at Versailles. 

W. L.: to L; looking to r.; in plumed hat, long cloak, and large riding 
boots; 1. hand resting sword on ground. 

Photostat copy : about 6M x 4. There are prints from this picture in Narrative and 
Critical History of America, edited by Justin Winsor, vol. IV (Boston and New York : 
[1884]); Acadiensis, vol. IV, nos. 3-4, July-October, 1904; and elsewhere. 

This is a copy of a water-colour drawing in Massachusetts Archives: Documents collected 
in France, I 441. These manuscripts, deposited in the State House, Boston, are 
transcripts of documents in France made by Benjamin Perley Poore in 1845-47. 
The original of this picture has never since been found, and its authenticity as a por- 
trait of De Monts is very doubtful. 

419 MONUMENT DU SIEUR DE MONTS | Sur l'emplacement du 
vieux fort de Port-Royal. 

Bust on high pedestal. 

Half-tone print : 6%x3%. PI. to La Tragédie d'un peuple, by Emile Lauvrière, 

vol. I (Paris : 1922). 

The sculptor of this monument was Hamilton P. MacCarthy, R.C.A. (b. 1847), a 
native of London, England, son of the sculptor Hamilton Wright MacCarthy. He 
came to Canada in 1885. The monument was erected in 1904. 



92 

WILLIAM HERBERT, EARL OF PEMBROKE 

8 April 1580 — 10 April 1630 

William Herbert, third Earl of Pembroke, held a position of prominence 
at the courts of James I and Charles L He was interested in American 
colonization, and was an incorporator of the North West Passage 
Company in 1612. 

420 WILLIAM HERBERT | Third Earl of Pembroke. 

[In list of Illustrations] From H. T. Ryall's engraving of the original 
of Vandyke in the collection of the Right Honorable the Earl of 
Pembroke, 1836. 

T. Q. L.: to r.; wand in 1. hand. 

Photo-process print from line engr : 4 Je x 3 Jig. PL to The Genesis of the United States, 
by Alexander Brown, vol. II (Boston and New York : 1890) . 

This portrait, traditionally ascribed to Van Dyck, is now considered probably to be 
by Van Somer. 

NICHOLAS LEATE 

? — 10 June 1631 

Nicholas Leate, a prominent London merchant, was one of the pro- 
moters of Hudson's voyage of 1610, and was an incorporator and direc- 
tor of the North West Passage Company in 1612. 

421 NICHOLAS LEATE [In frame] Let Armes and Arts thy prayses 
speake Who wast their Patron worthy Leate 

[In cartouche under portrait] 

London may boast thy prayse and magnifie-] 
Thy Name; whose care her Ruynes did répare: \ 
And in Exchange of fowl e deformitie;\ 
Hath deckt and gracd her with Bewties rare:\ 
The fame wherof resoundeth farr and neare.\ 
Then honour him, who thus hath honour' d thee] 
And loue his Name, in all posteritie. ] 

Jo: Payne sctilp: 

[In list of Illustrations] From the very rare engraved portrait by Jo. 

Payne. 

H. L.: to 1., looking to r. ; in cap, neck-ruff and furred gown; gloves 
in 1. hand. 

Photo-process print from line engr.: oval, 33^x25^; with ornamental border, rect., 
5}^ X 35^. PI. to The Genesis of the United States, by Alexander Brown, vol. II 
(Boston and New York : 1890). 

John Payne (c. 1606-1647), a disciple of Simon van de Pass, became an engraver 
of considerable ability. 



GEORGE CALVERT, LORD BALTIMORE 

C. 1580 — 15 April 1632 

George Calvert was secretary of state under James I from 1619 to 
1625, when he declared himself a Catholic and resigned, being created 
Baron Baltimore. He was interested in colonization, and began a 



93 

settlement at Ferryland in Newfoundland in 1621. In 1629 he deter- 
mined to remove his colony to the southward, but the grant of "Mary- 
land" was not confirmed until after his death. 

422 GEORGE CALVERT | First Lord Baltimore 

[In list of Illustrations] From an engraving of the painting by 
Mytens in the Earl of Verulam's gallery at Gorhambury. 

T. Q. L.: to r. ; 1. hand on hilt of sword, r. hand holding written 
document. Table in r. foreground. 

Photo-process print from line engr.: 43^ x 3H- PI- to The Genesis of the United 
States, by Alexander Brown, vol. I (Boston and New York : 1890). There are other 
prints from this portrait in Justin Winsor, Narrative and Critical History of America, 
vol. Ill (Boston and New York : [1884] ), and Mary Johnstone, Pioneers of the Old 
South (New Haven, etc.: 1918). 

423 Fig. 153. — George Calvert, Lord Baltimore. (From an engraving by 
Caldwell from the | original picture. Collection of Hampton L. 
Carson, Esq., Philadelphia.) 

Same portrait, modified. Nearly H. L.: to 1. 

Half-tone print : 3% x syé. In text of A History of All Nations, edited by J. H. 
Wright and others, vol. XXI (Philadelphia and New York : [1905] ). 

James Caldwall (1739-1809 + ), a native of London, became an engraver of much 
skill. His engraving of the portrait of Lord Baltimore was used as an illustration to 
Pennant's Journey from Chester (1782). 

424 Copyright 1903 by G. Barrie & Sons [On guard] SIR GEORGE 

CALVERT I First Baron Baltimore. | From a copv in the State 
House at Annapolis after the \ original by Daniel Mytens 
the Elder, now in possession of \ the Earl of Verulam at 
Gorhamhiiry, England. 

Same portrait. Nearly W. L. 

Photogravure : SJ/i x 4%. PI. to The History of North America, edited by Guy 
Carleton Lee, University Edition, vol. IV (Philadelphia : [1904] ). 

The copy from which this print is taken was presented to the State of Maryland in 
1882 by John VV. Garrett. 



HENRY II, DUG DE MONTMORENCY 

30 April 1595 — 30 October 1632 

Henry II, son of Henry I, Due de Montmorency, and grandson of 
Anne de Montmorency, succeeded to the title on his father's death in 
1614. In 1612 he had been appointed admiral of France in succession 
to his uncle, and in 1630 was created marshal. On February 25, 1620, 
he became viceroy of New France in succession to his brother-in-law, 
the Prince de Condé, and held the position until December, 1624, 
when he relinquished it to his nephew, the Due de Ventadour. In 
1632 he took part in a rebellion against the government and was cap- 
tured and put to death. 



94 

425 Fig. 9.— HENRI IL, DUC DE MONTMORENCY, WEARING 
A I FALLING LACE COLLAR. By Le Nain. Louvre. About 
1628. I By permission of Messrs. Braun, Clement à? Co., \ Dornach 
(Alsace), and Paris. 

Bust : to r. ; eyes directed to 1. 

Half-tone print : 3 }i X 3 J^. On pi. to The Encyclopedia Britannica, llth ed. 
vol. XVI (Cambridge: 1911). 

Antoine, Louis and Mathieu Le Nain, three brothers, were born at Laon in 1588, 
1593 and 1607, respectively. They all became artists at Paris. Antoine and Louis 
died in 1648, Mathieu in 1677. The name Le Nain is commonly attached to paintings 
which are believed to be due to Antoine and Louis, working jointly. 

426 HENRY, DVC DE MONTMORENCY, ET D'AM- 
VILLEJ PAIR ET MARECHAL DE FRANCE, GOVVER- 
NEVR, ET I LIEVTENANT GENERAL POVR LE 

ROY, EN LANGVEDOC. | C Mellan F. 

Nearly H. L.: to r.; in body armour and lace collar, with cross of 

Saint Esprit. 

Line engr.: oval. 5>^ x 3%; with border, rect., 7M x 5. Trimmed. 

Claude Mellan (c. 1598-1688) was a native of Abbeville who worked as a draughtsman 
and engraver at Rome and Paris. 

427 HENRY DVC DE MONTMORENCY ET DAMVILLE | PAIR 
ET MARECHAL DE FRANCE GOVVERNEVR ET | LIEVTENANT 
GENERAL POVR LE ROY EN LANGVEDOC | G. RousseUt Sculp. 

Similar portrait, but with many variations in details. 

Photo-process print from line engr.: ova\, 3% x2^; with border, rect.. 5?^ x 3?^. 
PI. to Histoire de la marine française, by Charles de La Roncière, vol. IV (Paris : 
1910). 

Gilles Rousselet (1610-1686), draughtsman, engraver and print-dealer, was a native 
of Paris. 

428 P iV9 5. I I Sergent del. et sculp 1788 \ HENRI II, DUC DE 

MONTMORENCY | ET D'ANVILLE. PAIR, 

AMIRAL, I Maréchal el premier Baron de France, 
Chevalier \ des Ordres du Roi, Gouverneur et Lieutenant-\ 
Général du Languedoc, Comte de Dammartin, &c. &c.; | 
Né à Chantilly le 30 Avril 1595; mort à Toulouse \ le 30 

Octobre 1632. 1 a Pans chez Blin, Imprimeur en Taille-Douce, Place Maubert 
N° 17, vis-a-vis la rue des 3 Portes. \ A . r . U . K. 

Bust : toi.; in body armour and lace collar. Coat of arms in title 

margin. 

Colour aquatint: oval, 5% x 4J4. 

Antoine Francois Sergent (1751-1817) was a French engraver celebrated chiefly for 
his colour prints. 

429 HENRI, DUC DE MONTMORENCI. 

H. L.: in armour; to r.; battle in background. 
Clipping. Print : oval, 4x3. 



95 
JOHN ELDRED 

1552 — December 1632 

John Eldred, a native of Norfolk, became a trader in the Levant and 
afterwards a leading merchant in London. He was one of those who 
sent out Henry Hudson in 1610, and was an incorporator and director 
of the North West Passage Company in 1612. 

430 JOHN ELDRED [In list of Illustrations] From the engraving pub- 
lished by the Society of Antiquaries of London in 1806. 

H. L.: to 1.; in neck-rufif; holding astrolabe in r. hand. 

Photo-process print: 4^ x 3J^. PI. to The Genesis of the United States, by Alexander 

Brown, vol. I (Boston and New York : 1890). 

VISCOUNT FALKLAND 

1576 — September 1633 

Sir Henry Cary, or Carey, was created Viscount Falkland in 1620 and 
appointed lord deputy of Ireland in 1622, retaining this ofhce until 
1629. He was an incorporator of the North West Passage Company in 
1612, and about 1623 made an unsuccessful attempt to establish a 
colony in Newfoundland. 

431 HENRY CARY | First Viscount Falkland [In list of Illustrations] From 
J. Brown's engraving of G. P. Harding's drawing of the original 
painting by Vansomer, formerly at Strawberry Hill. 

W. L.: to 1.; dressed in white, with plumed hat and sword; r. hand 
on table. 

Photo-process print from stipple engr.: 6 x 3J^. PI. to The Genesis of the United 
States, by Alexander Brown, vol. I (Boston and New York : 1890). 

SAMUEL DE CHAMPLAIN 

1567 ? — 25 December 1635 

Samuel de Champlain, soldier, mariner and geographer, was a native 
of Brouage, in Saintonge, France. He devoted his life to discovery 
and colonisation in America, and became assistant to De IVIonts in the 
exploration and settlement of Acadia, and, later, founder of Quebec 
and first governor of New France. 

432 Ducornet Ec. c. f. | SAMUEL DE CHAM- 
PLAIN I Gouverneur Général du Canada 

(N^ . France) \Né à Brouage en 1567. \ Fonde Québec en 
1608 et meurt dans cette Ville en 1635. 

T. Q. L.: to 1.; in lace collar and long coat with slashed sleeves. View 
of Quebec in 1. background. 

Lithogiaph, oval : 1254 x 9^; with border, I33i x 10^. There is a photogravure 
copy of this print in Pioneers of France in the New World, by Francis Parkman, 
vol. II (Boston : 1897), and another in Champlain. by N. E. Dionne (The Makers^ of 
Canada series) , Edition de luxe (Toronto : 1905); also half-tone copies in Les Fêtes 
du troisième centenaire de Québec (Quebec: 1911); The Canadian Historical Review, 
Dec, 1920; and elsewhere. 



96 

Louis César Joseph Ducornet (1806-1856), a native of Lille, was deformed from birth, 
having neither arms nor thighs, and only four toes to his right foot. Nevertheless 
he became an artist of considerable ability, using the brush with toes and mouth. 
The lithographed portrait of Champlain prepared from his design is assigned by 
cataloguers to the year 1854. It is, so far as is known, the earliest portrait of Cham- 
plain, unless some of the figures in the illustrations to Champlain's own works might 
be so regarded. In The Canadian Historical Review, vol. I, no. 4 (December, 
1920), H. P. Biggar has shown that this picture by Ducornet was, almost certainly, 
based on the portrait of Michel Porticelli, controUeur-général des finances, engraved 
by Balthazar Moncornet in 1654. A print of the Porticelli portrait is given, loc. cit., 

433 SAMUEL de CHAMPLAIN. | From the Painting by Th. Hamel after the 

Moncornet Portrait [Reproduction of signature on print] O'Neill 

Similar portrait, with modifications. Bust : to r. 

Stipple engr.: about 4 x 4}^. PI. to History and General Description of New France, 
by Charlevoix, translated by John Gilmary Shea, vol. II (New York : 1866). The 
same plate is in Voyages of S annuel de Champlain, translated by Charles Pomery Otis 
and edited by the Rev. Edmund F. Slafter, vol. I (Boston : The Prince Society, 1880), 
and in First Establishment of the Faith in New France, by LeClerq, translated by John 
Gilmary Shea, vol. I (New York : 1881). In each of these the title has the following 
addition : "Copyright by John G. Shea, 1878." There is a photogravure copy in 
Canada and Its Provinces, edited by Adam Shortt and Arthur G. Doughty, vol. I 
(Toronto : 1913), and many other reproductions have been published. 

Shea is the first to mention a portrait of Champlain by Moncornet. Slafter, op. cit., 
adds that the copy which Hamel used was "obtained in France by the late M. Fari- 
bault," that is, G. B. Faribault, Hamel's father-in-law, well known as an early 
investigator in Canadian history. Although searches were made by Slafter and 
Otis, and repeatedly since then by others, no portrait of Champlain by Mon- 
cornet, nor any record of such a portrait, has ever been found. Doubtless the Mon- 
cornet portrait of Porticelli has been the ultimate source, not only of Ducornet's 
portrait of Champlain, but also of all the subsequent affirmations of the existence of a 
Moncornet Champlain. 

434 THE HAMEL CHAMPLAIN. 

Same portrait. H. L. Cape Diamond in r. background. Shows 
whole picture, including frame. 

Half-tone print : SM x 4M. PI. to Acadiensis. vol. IV, nos. 3-4 (July-Oct. 1904). 
This plate is also in The River St. John, by the Rev. Wm. O. Raymond (St. John: 
1910). 

This print is from the portrait now in the parliament buildings at Ottawa, which 
bears the date 1870. It must be a replica of that from which Shea's plate of 1866 
was made. 

435 Morrcorrret Ex C. p. \ SAMUEL DE CHAMPLAIN | 
fondateur de Quebec Capitale du Pays de Canada \ 1608 

The Ducornet portrait, reversed; view of Quebec in r. background, 
not reversed, but modified. 

Line print : oval, A]/2 x 33^ ; with border, 5x4. PI. to Œuvres de Champlain, edited 
by the Abbé C. H. Laverdière, vol. I (Quebec: 1870). A copy of this print, on 
which the attribution to Moncornet either is rnissing or has been erased, is reproduced 
in half-tone in La Tragédie d'un peuple, by Emile Lauvrière, vol. I (Paris : 1922), as 
being from "Bibl. Nat.; Cabinet des Estampes." 

436 E. RON J AT I CHAMPLAIN (SAMUEL DE) | d'après un portrait gravé 
par Moncornet 

Same portrait, modified. Nearly H. L.: toi. Background omitted. 
Details of the features are nearer to the Laverdière than to the 
Ducornet print. 

Heliotype from woodcut : about 4 x 3}4- PI. to Otis & Slafter, op. cit. There are 
also in the collection several other reproductions of this portrait. 



97 

Étienne-Antoine-Joseph-Eugène Ronjat (1822-1912), a native of Vienne (Isère), 
was a painter and engraver whose work was chiefly in book illustration. The original 
woodcut from Ronjat's design of Champlain's portrait was published in the 1876 
editions, French and English, of Guizot's Histoire de France. According to 
Victor Hugo Paltsits, who has made a careful study of the portraits of Champlain 
(in Acadiensis, vol. IV, nos. 3-4, July-October, 1904), Ronjat in 1904 declared speci- 
fically that his picture was after an engraving by Moncornet and not after the litho- 
graph by Ducornet, and that the Moncornet engraving was in the Bibliothèque 
Nationale, Paris. From the fact that no such engraving is known in the Bibliothèque 
Nationale, and from the appearance of the picture itself, it may be considered pro- 
bable that Ronjat's exemplar was the Laverdière portrait, which bore an ascription 
to Moncornet. It is less probable that he used a copy of Moncornet's Particelli. 

437 CHAMPLAIN. 

Same portrait, reversed and slightly modified. 

Print : about 5x5. PI. to Histoire des Canadiens-Français, by Benjamin Suite, 
vol. II (Montreal : 1882). This portrait is also published, with modifications in size, 
in Vie de Samuel Champlain, by Gabriel Gravier (Paris : 1900), and elsewhere. 

438 [On guard] SAMUEL DE CHAMPLAIN I After the painting 
by Moncornet. 

H. L.: to I.; Cape Diamond in 1. background. 

Coloured print : oval, 2^x2. Two others on same plate. PI. to The History of 
North America, edited by Guy Carleton Lee, University Edition, vol. XI 
(Philadelphia: [1905] ). 

This portrait appears to combine details of the Ducornet, Hamel and Ronjat pictures, 
with some variations of its own. 

439 E. BRIGHTON SC. R. H | CHAMPLAIN. 

W. L.: to r.; r. hand holding sword. 

Woodcut: about6x3M- In text of Picturesque Canada, edited by George Monro 

Grant, vol. I (Toronto : [1882] ). 

Robert Harris, C.M.G., R.C.A. (1849-1919), to whom is due the original drawing for 
this illustration, was a native of Wales who settled with his parents in Charlottetown, 
Prince Edward Island. He received his training in art in London, Paris and other 
European centres, and practised with success in Canada. He was president of the 
Royal Canadian Academy from 1893 to 1905. 

440 SAMUEL DE CHAMPLAIN 
[Signature on original] C. W. JEFFERYS 

W. L.: to 1.; r. hand holding fleur-de-lys standard, 1. hand on hilt of 
sword; looking over the St. Lawrence from the heights of Quebec. 
Chromo-lith.: 6%, x 5. PI. to The Quebec Tercentenary Commemorative History, by 
Frank Carrel, Louis Feiczewicz, and others (Quebec : 1908) . 

Charles William Jefîerys, A.R.C.A. (b. 1869), a native of Rochester, England, came 
to Canada in 1881 and has attained distinction as an artist in colours and in black 
and white. He was elected president of the Ontario Society of Artists in 1913. 

441 [On guard] Samuel Champlain as Represented at the Pageant \ 

From a drawing by George Reid 

W. L.: to 1.; face in profile. 

Colour half-tone print : 5H x 3M- PI- to The King's Book of Quebec (Ottawa : 1911). 

George Agnew Reid (b. 1860), a native of Wingham, Ontario, studied art at Toronto, 
Philadelphia, Paris and Madrid. He was president of the Ontario Society of Artists, 
1887-1901, and of the Royal Canadian Academy, 1906-1909. He is principal of the 
Ontario College of Art. 



98 

442 [Signed] G. A. Reid. 

W. L. : to r. ; seated at table, looking through window over a river, 
where a ship is seen. 
Crayon drawing : 25 x 20. 

443 CHAMPLAIN'S MONUMENT. 

Statue. W. L.: on high pedestal, with allegorical figures at base. 

Half-tone print : 8K X SH- PI. to Quebec . . . at the Dawn of the XXth Century, 
by A. B. Routhier (Montreal : [1904].). 

444 Statue standing upon Champlain's monument. 

Same statue : figure only. 

Half-tone print : 4H x 2}^. In text of A. B. Routhier, op. cit. 

There are other represent tions of this statue in Acadiensis, vol. IV, nos. 3-4 
(July-Oct., 1904); The St. Lawrence River, by George Waldo Browne (New York and 
London : 1905); Les Monuments commémoratifs de la province de Québec, hy Pierre 
Georges Roy, vol. I (Quebec : 1923) ; and many other publications. 

The monument to Champlain at Quebec was unveiled by the Earl of Aberdeen, 
Governor-General of Canada, on September 21, 1898. It is from a design prepared 
by Messrs. Paul Chevré and Paul Le Cardonnel, sculptor and architect respectively, 
of Paris. 

445 Champlain monument on Nepean Point, Ottawa. 

Statue. W. L.: on high pedestal; r. hand holding astrolabe. 
Photo. : 4Jix2>i. 

This monument was unveiled by H.R.H. the Duke of Connaught and Strathearn, 
Governor-General of Canada, on May 27, 1915. The sculptor was Hamilton Mac- 
Carthy, R.C.A. 

CAPTAIN THOMAS JAMES 

C. 1593 — 1635? 

Captain Thomas James, a native of Bristol, sailed from that port in 
1631 in search of the North West Passage; wintered in the bay that 
bears his name; returned to Bristol in 1632; and in 1633 published an 
account of the voyage. He retired from the naval service on account 
of serious illness in 1635, but the date of his death is not known. 

446 [In frame] THE TRVE PORTRAICT OF CAP: 
THOMAS JAMES. Matis suae 40 [in segment 

under portrait] Some has a time 

Engraved from a very Scarce Print, in a Map for \ the Discovery of 
a North West Passage into the South Sea. \ Pub'^ if.' July iszi, by 
T. 6* H. Rodd, 17, Little Newport St. Leicester 5g? 

Nearly H. L.: to 1. In frame in cartouche. 
Line engr.: oval, 2^ x l'^; with border, 4 x 2Ji. 

The original is an inset on the map entitled "The Piatt of Sayling for the discoverye of 
a passage into the South Sea, 1631, 1632", which was published in The Strange and 
Dangerous Voyage of Captain Thomas James i?i his intended discovery of the North- 
West Passage into the South Sea (London: 1633). A copy of this map in manuscript 
is in the British Museum, Add. MS. 5415, G. 1, of which there is a replica in pen and 
ink in the Public Archives of Canada, copied February, 1916. The portrait is indis- 
tinct. The motto is given as: "Some has a fund." 




(^HAMPLAIN 

Crayon drawing b^i G. A. Reid 

Ho. 442 



99 

SIR JULIUS CAESAR 

1558 — 18 April 1636 

Julius Caesar Adelmare, afterwards Sir Julius Caesar, son of Cesare 
Adelmare, an Italian physician resident in London, entered the practice 
of law and held several judicial positions, including those of chancellor 
of the exchequer (1606-1614) and master of the rolls (1614-1636). 
He was a subscriber to the voyages of Frobisher, Fenton, and Caven- 
dish; a member of the North West Passage Company; and one of the 
commissioners appointed March 5, 1630, to investigate the French 
claims against David Kirke for goods seized at Quebec. 

447 SIR JULIUS C^SAR [On face of original] ^tat Svae 76 1633 

[In list of Illustrations] From the engraving in Lodge's Life of Sir 
Julius Caesar, London, 1827. 

T. Q. L.: to r. ; in robe, lace-trimmed cap, and lace ruff and cuffs; 
r. hand on cane, 1. hand holding scroll. 

Photo-process print : 4}^ x 3J^. PI. to The Genesis of the United States, by Alexander 
Brown, vol. I (Boston and New York : 1890). 

SIR DUDLEY DIGGES 

1583 — 18 March 1639 

Sir Dudley Digges, merchant, author, and statesman, held various 
official positions, including that of master of the rolls (1636-1639). 
He was a promoter of north-west exploration, contributed to sending 
out Hudson, Button, Byleth and Baffin, and was a director of the 
North West Passage Company. 

448 SIR DUDLEY DIGGES 

[In list of Illustrations] From C. Turner's engraving of a drawing by- 
Harding after the original in the collection of William Hammond, 
Esq., at St. Alban's Court, 1813. 

Bust : to r. ; in lace collar and fur mantle. 

Photo-process print : oval, 5^ x 3M- PI- to The Genesis of the United States, by 
Alexander Brown, vol. I (Boston and New York : 1890). 

Charles Turner (1773-1857), a native of Woodstock, became one of the most famous 
of English engravers. The original of this portrait is said to be by Cornelius Janssens, 
a Dutch painter who lived in England 1618-1648, and died between 1662 and 1664. 

BARON ARUNDELL OF WARDOUR 

C. 1560 — 7 Nov. 1639 

Sir Thomas Arundell, who in 1595 was, for military services in 
Hungary, created a count of the Holy Roman Empire, and in 1605 
was made Baron Arundell of Wardour by James I, was a member of 
the North West Passage Company. 

449 THOMAS ARUNDELL 1 First Baron Arundell [On face of print] +1584 
Tho' Arvn-dell: S : R • 1 : Co^: in Corpore Sano. 



100 

[In list of Illustrations] From the engraving by Richard Cooper of 
a miniature in the possession of the Right Honorable Lord Arundell. 

Bust : to 1.; with neck-ruff. 

Photo-process print from stipple engr.: oval, 2 x 1%; with frame, 3pi x 3%. PI. to 
The Genesis of the United States, by Alexander Brown, vol. I (Boston and New York : 
1890) . 

Richard Cooper (c. 1730- c. 1820) was an English engraver, best known for his 
portraits. 

SIR WILLIAM ALEXANDER, EARL OF STIRLING 

C. 1567 — 12 September 1640 

William Alexander, of Menstrie, near Stirling, Scotland, poet and 
statesman, was a favourite of James I and Charles I. He was knighted 
in 1609, and in 1630 created Viscount Stirling, in 1633 Earl of Stirling 
and Viscount Canada, and in 1639 Earl of Dovan. In 1626 he was 
appointed secretary of state for Scotland. In 1621 he received a grant 
of "Nova Scotia", from the St. Croix river to the St. Lawrence. To 
promote his colonisation projects the order of Baronets of Nova Scotia 
was created. In 1629 he founded a Scottish settlement at Port Royal, 
but in 1632, as a result of peace with France, the settlers were removed. 
He was also associated with the Kirkes in sending out the expedition 
which captured Quebec in 1629. 

450 VERA EFFIGIES GULIELMI COMITis DE 
STERLIN yETATis su^ lvii. 

Bust : to r. : with neck-ruff; in oval frame within laurel wreath. 

Line engr.: oval, 5}4 x 4; with border, rect., 6}4 x 4%. PI. to Royal Letters , Charters, 
and Tracts, relating to the Colonization of New Scotland, and the institution of the Order 
of Knight Baronets of Nova Scotia. 16Z1-1638. (Edinburgh : The Bannatyne Club, 
1867). There are smaller copies of the picture in The Genesis of the United States, by 
Alexander Brown, vol. I (Boston and New York : 1890); The Jesuit Missions, by 
Thomas Guthrie Marquis (Toronto : 1916) ; and elsewhere. 

The original engraving of which this is a reproduction was by William Marshall and 
was published in the edition of Alexander's poems entitled Recreations with the Muses, 
which appeared in 1637. The engraving itself must have been made some years 
earlier. William Marshall (fl-.c. 1617-1649) was an English line engraver whose 
chief work was on portraits for book illustrations. 

451 Drawn by J. Thurston. Engraved by C. Pye. | WILLIAM ALEXAN- 
DER EARL OF STIRLING. 

Same portrait. Nearly H. L. 

Line engr.: 3% x 3; with border, 3>â x SH- 

452 Cha^ Pye ScP' 

Same engr. On India Paper, mounted. Apparently an artist's proof. 

This engraving formed a plate to Effigies Poeticœ, published by W. Walker, 1820. 
John Thurston (1774-1822) was an English artist who was employed chiefly in book 
illustration. Charles Pye (1777- ? ) was an English engraver. 



101 
THE CHEVALIER DE SILLERY 

25 December 1577 — 26 September 1640 

Noel Brûlard, or Brûlart, chevalier de Sillery, brother of the Marquis 
de Sillery, chancellor of France and Navarre, attained distinction in 
the order of the Knights of St. John, where he rose to the rank of 
commander, and afterwards in the service of the French court. He 
embraced the religious life in 1625, and was ordained priest in 1634. 
He contributed to the support of the missions in Canada, and in 1637 
provided the funds for establishing the colony of Indian converts at 
Sillery, above Quebec. 

453 [On face of picture] MESSIRE NOEL-DE BRVSLARD DE 

Sillery | Comyandevr dv temple de | troves 

FONDATEVR de la I MAISON DE LA CONG DE LA | 
MISSION DE TROVES DECEDE | LE 26 7BRE | 1640 

H. L.: to r.; in cap, linen collar, and gown with cross of Malta; 
hands clasped. Coat of arms in upper r. hand corner. 
Photo. : 3H X 2ya. 

454 LE COMMANDEUR DE SILLERV. | (D'après une peinture ancienne 
conservée au Séminaire | de Troyes en Champagne.) 

Same picture. 

Half-tone print : 4K x 314- PI- to Notre-Dame de Sainle-Foy, by the Abbé H. S. 
Scott, vol. I (Quebec : 1902). There are other modern prints of this picture. 



THE DUC DE SULLY 

13 December 1560 — 22 December 1641 

Maximilien de Béthune, French statesman, was the ablest minister of 
Henry IV. He received many appointments and dignities, including 
those of Due de Sully in 1606 and marshal of France in 1634. He 
opposed the grants made to the Sieur de Monts, and the whole policy 
of colonisation in Acadia and Canada. 

455 [On tablet on pedestal] MAXIMILIEN DE BETHUNE, | Duc de Sulli, 

Grand Maître | de l'Artillerie Maréchal de France | b'c. Né à Rosni en 1559. Mort \ 
le 21 Décembre 1641. 

L Legrand sculp 

Bust : to 1.; in ruff and body armour. In frame of masonry. 

Line engr.: oval, 2J^x2>^; with border, rect., 45^x2?^. PI. to Mémoires de 
Maximilien de Béthune, Duc de Sully, vol. I (London : 1763). 

456 Engraved by w. Hoii. \ SULLY. ( FroTTi the Original Picture 
by an unknown Artist, \ in the private collection of Louis 
Philippe, King of the French. | Under the Superintendence of 
the Society for the Diffusion of Useful Knowledge. | London, Published 
by Charles Knight, Pall Mall East. 

H. L.: to 1.; with wide linen collar. 

Stipple engr.: 5x4. PI .to The Gallery of Portraits, vol. I (London : 1833). 



102 

457 MaUrin | /. Uth. de Delpech | SULLY, j Tiré de la Galerie 
S. A. R. MSr le Duc d'Orléans. 

Same portrait. 

Lith.: about 10x9. PI. to Iconographie Française, by Madame Delpech, vol. I 
(Paris : 1840). 

MARIE DE' MEDICI 

26 April 1573 — 3 July 1642 

Marie, daughter of Francesco de' Medici, grand duke of Tuscany, 
married Henry IV of France in 1600. From 1610 to 1617 she was 
regent of France. 

458 Porbus pinx^. MaUrin \ imp. Lilh. de Delpech. \ MARIE DE 

MEDICIS. Tiré du Musée Royal de France. 

Bust : to 1.; with diadem, high neck-ruff open in front, and pearl 
neck-lace and ornaments. 

Lith.: about 11 x 10. PL to Iconographie Française, by Madame Delpech, vol. I 
(Paris : 1840). 

459 Fig. 156. — Maria de' Medici. Painting by Francis Porbus the 
younger (1570-1622). (Madrid.) 

W. L.: to 1.; in wide neck-ruff and dress; kerchief in 1. hand. 

Print : 6^ x 3J^. In A History of All Nations, edited by J. H. Wright and others, 
vol. XI (Philadelphia and New York : [1905] ). 

460 M. DE MEDICIS. 

H. L.: to 1. 

Clipping. Etching and line engr.: 2% x 2; with border, 4 x 2%. Trimmed. 



CARDINAL RICHELIEU 

9 September 1585 — 4 December 1642 

Armand Jean du Plessis de Richelieu, most famous of French statesmen 
of the seventeenth century, was a native of Paris. He became bishop 
of Luçon in 1607, cardinal in 1622, chief minister of Louis XHI in 
1624, and Due de Richelieu in 1631. From 1624 until his death he 
was practically ruler of France. As superintendent-general of navi- 
gation and commerce he controlled the French colonial policy. In 1627 
he founded the Company of New France, of which he was the most 
prominent member. 

461 Swan Electric Engraving C? ] Armand J CaTl Du PlcSStS, 

Cardinal de Richelieu. \ From the painting by Philippe de 
Champaigne in the National Gallery. 

Three studies of the bust in the one drawing : that to left in profile, 
to r.; that in centre, facing front, slightly to I.; that to right in profile, 
toi. 

Photogravure: 3H^^H- PL to The Anglo-Saxon Review, vol. IX, June, 1901 
(London) . 



103 

Philippe de Champaigne (1602-1674), a native of Brussels, became one of the fore- 
most portrait painters of Paris. He was patronized by Marie de' Medici and by 
Richelieu, of whom he painted several portraits. This study, which is in the National 
Gallery, London, is said to have been prepared for the use of the Roman sculptor, 
Francesco Mocchi, in making a bust. 

462 London J. Hallett Hyatt. Sc. | Studif fov Q portrait of Cardinal 
Richelieu, | by Philippe de Champaigne \ in the National Gallery. 
[In upper margin to r.] De ces deux | profiles ce cy \ est le meilleur. 

Same picture. 

Photogravure : 3% x 4'%. PI. to Old France in the New World, by James Douglas, 
2nd ed. (Cleveland and London : 1906). There are half-tone copies of this picture 
in The Catholic Encyclopedia, vol. XIII (New York : [1912] ), and Bryan's Dictionary 
of Painters and Engravers, edited by Geo. C. Williamson, vol. I (London : 1918). 

463 [On face of photo.] Musée du Louvre. — 745. — Portrait de 
Richelieu. — Ph. de Champaigne. — V. phot. 

W. L.: to 1.: in skull-cap, flowing robes, and cross of Saint Esprit; 
r. hand holding beretta, 1. hand pointing to r. 

Photo, from painting : XOI/s x 8J^. There are photogravures of this portrait in 
Canada and its Provinces, edited by Adam Shortt and Arthur G. Doughty, Authors' 
Edition, vol. II (Toronto : 1913); smà. Crusaders of New France, by William Bennett 
Munro, Lincoln Edition (New Haven, etc.: 1918); and a half-tone print in The 
Seigneurs of Old Canada, by W. B. Munro (Toronto : 1914). 

464 PLATE 'Kl^l. \\ Champaigne Pinxit. Nanteuilsculpebal 1657. \ Cardinal 
RicheHeu. | Reduced facsimile of a copper-plate engraving, 1657, 
by Robert Nanteuil (1630-1678), from a j painting by Philippe de 
Champaigne (1602-1674). | History of All Nations, Vol. XII. , page 286. 

Apparently same portrait, reversed. Nearly H. L. In frame and 
laurel wreath. 

Photo-process print : 6Ji x 4K. PI- to A History of All Nations, edited by J. H, 
Wright and others, vol. XII (Philadelphia and New York : [1905] ). There is 
another reproduction in Histoire de la marine française, by Charles de la Roncière. 
vol. IV (Paris : 1910). 

Robert Nanteuil (c. 1623-1678), a celebrated French engraver and draughtsman in 
crayons, was a native of Rheims. He received the patronage of Louis XIV. 

465 lac Lubin sculp, j Armand Jean du Plessis \ Cardinal 

Due de Richelieu 

Same portrait. To 1. In frame, with coat of arms beneath portrait. 

Clipping. Half-tone print from line engr.: oval, 434 x3>^; with border, rect. 
6>i X 4H. Trimmed. 

Jacques Lubin (1637-1694 + ), an engraver, chiefly of portraits, was a native of Paris. 
His portrait of Richelieu was published in Perrault's Hommes illustres qui ont paru 
en France, vol. I (1696). 

466 ■ HIST. DE FRANCE. | | RICHELIEU. | Ph. Champagne pinx{ 
Landon direx. 

Apparently same portrait. Bust : to 1. 

Outline engr.: 2J^ x 2Ji. PI. to Galerie historique des hommes les plus célèbres, by 
C. P. Landon, vol. IX (Paris : 1807). 

Charles Paul Landon (1760-1826) was a French historical painter who in 1816 became 
curator of the Louvre Gallery. He is best known as a writer on art. 



104 

467 Maurin \ i. uih. de Oeipcch. \ RICHELIEU. | Tire du 

Musée Royal de France. 

The Louvre portrait. Bust : to r. 

Lith.: about 10 x 9. PI. to Iconographie Française, by Madame Delpech, vol. I 
(Paris : 1840). 

468 Engraved by T. Woolnoth. \ RICHELIEU. | From a Picture. \ in his 

Majesty's Collection. | Under the Superintendance of tlie Society for the 
Diffusion of Useful Knowledge. | London, Published by Charles Knight, Pall Mall 
East. 

Similar portrait, with variations. Nearly H. L.: to 1. 

Stipple engr.: 4H x 4. PI. to The Gallery of Portraits, vol. II (London : 1833). 
There is a copy of this portrait in France under Mazarin, by James Break Perkins, 
vol. I (New York and London : 1886; 5th imp. 1902). 

469 Philip de Champayne. Freeman. | Cardinal de RichelicU \ from the 
Versailles Gallery 

T. Q. L.: to 1.; resembles the Louvre picture; paper in 1. hand. 
Reproduction of stipple and line engr.: 5 x S%. PI. to Old Quebec, by Gilbert Parker 
and Claude G. Bryan (New York and London : 1903). 

470 European magazine. \ \ Engraved by W. nomas 1 London. 

Published as the Act directs, Sep'', I. 1793, by I. Sewell, Cornhill. [Inscription 

on tomb] ARMANDVS JOANNES CARDINALIS DUX DE RICHELIEUl 
PRIMARIVS REGNI ADMINISTER SUB LVDOVICO JUSTO | XIIII? 
GALLIARUM ET NAVARRAE REGE CHRISTIANISSIMO | SORBONAE 
PROVISOR HIC SEPVLTVS | OBIIT AETAT. LVII NONIS DECEMB. | 
ANNO R. S. H. MDCXLII. 

Statue. W. L., reclining, on top of tomb. Two allegorical figures. 
Line engr.: 3^ x 5J^. PI. to The European Magazine, vol. 'K.'X.W (London : 1793). 

The tomb of Richelieu is in the church of the Sorbonne, Paris. The monument was 
designed by Charles LeBrun (1619-1690), famous artist of the reign of Louis XIV, 
and executed by his protégé, the sculptor François Girardon (1628-1715). 



LOUIS XIII 

27 September 1601 — 14 May 1643 

Louis, son of Henry IV and Marie de' Medici, became king of France 
on his father's death, in 1610, but did not assume control of the govern- 
ment until 1617. 

471 PLATE XX. || Louis XIII., King of France. | Reduced 
facsimile of a copper-plate engraving by Jean Morin (1612-1660), 
from a painting by | Philippe de Champaigne (1602-1674).] History 

oj All Nations, Vol. XII., page 267. [In frame] LOV I S X. 1 1 1 PAR 

LA GRACE DE DIEV TRES CHRESTIEN 
ROY DE FRANCE ET DE NAVARRE &c 

Bust ; to r.; in body armour, sash, and lace collar. 

Photo-process print from line engr.: octagonal, 4% x 3H; with border, rect., 
SH^'^H- PI- to .4 History of All Nations, edited by J. H.Wright and others, 
vol. XII (Philadelphia and New York : [1905] ). 

Jean Morin (1590 P-1650?), French painter and engraver, was a native of Paris and a 
diaciple of Philippe de Champaigne, of whose works he engraved many plates. 



105 

472 Philippe de Champaigne pinx{ | MaUritl \ Imp. Lith. de Delpech. | 

LOUIS A^lll. I Tiré du Musée Royal de France. 

Similar, but not identical, portrait. Nearly H. L.: to 1. 

Lith.: about 10x9. PI. to Iconographie Française, by Madame Delpech, vol. I 
(Paris : 1840). There is a copy in France under Mazarin, by James Breck Perkins, 
5th impression, vol. I (New York and London : 1902). 

473 HIST. DE FRANCE. | | LOUIS XIII. | F. pinx{ Landon direx. 

Nearly H. L.: to 1.; in body armour and sash. 

Outline engr. : 2% x 2J^. PI. to Galerie historique des hommes les plus célèbres, by 
C. P. Landon. vol. VII (Paris : 1806). 

474 LVDOVICVS XIII. REX GALLIARVM CHRISTIA- | 

NISSIMVS etc. 

Nearly H. L.: to 1.; in body armour and sash, wearing laurel wreath. 

Clipping. Line engr.: oval, 3J4x25^; with ornamental frame irregular, 5 x 3J^' 
Trimmed. 

475 LVDOVICVS XIII GALLIA-| RVM REXATQVE 

Navarre | Christianissimvs. 

Bust : to 1. 

Clipping. Line engr.: oval, 3 x 2}4'> with border, rect., 3H x 2J^. Trimmed 



POPE URBAN VIII 

April 1568 — 29 July 1644 

Maffeo Barberini, a native of Florence, was created cardinal in 1606, 
and elected Pope August 6, 1623, in succession to Gregory XV. He 
v/as interested in the Canadian missions, and the earliest pontifical 
document relating to the present province of Ontario is a brief 
issued by his authority, dated February 18, 1644, granting an 
indulgence to the chapel of St. Mary's, in the Huron country. 

476 VRBANVS VHI. BARBERINVS PONT. MAX. | 

Fig. 59. — Pope Urban VIII. Reduced facsimile of a contemporary 
anonymous engraving. 

Bust : to 1. 

Print : 5H x 4}4- In A Historv of All Nations, edited by J. H. Wright and others, 
vol. XII (Philadelphia and New York : [1905] ). 

ISAAC JOGUES 

10 January 1607 — 18 October 1646 

Isaac Jogues, a native of Orleans, France, entered the Society of Jesus 
in 1624 and was sent to Canada as a missionary in 1636. He was killed 
by the Iroquois at Ossernenon, now Auriesville, on the Mohawk river, 
in the state of New York. 



106 

477 FATHER ISAAC JOGUES, S. J. | FOUNDER OF THE IROQUOIS 
MISSION. KILLED OCT. 18. 1646. \ Edward Dunigan & Brother, N.Y. 

H. L.: to r. ; hands joined. 

Line engr.: about 4x4. PI. to History of the Catholic Missions among the Indian 
tribes of the United States, by John Gilmary Shea (New York : 1855); and to History 
and General Description of New France, by Charlevoix, translated by J. G. Shea, 
vol. II (New York : 1866). 

478 Er^g. by s. Hoiiycr. | FATHER ISAAC JOGUES, S.J. | 

K. Awuesville, N.Y. Oct. 18™ 1646 | Copyright by John G. Shea, 1886. 

Similar portrait, with modifications. 

Stipple and line engr.: about 3Ji x 2}4. PI- to The Catholic Church in Colonial Days, 
by J. G. Shea (New York : 1886). There are half-tone prints from this engraving 
in Pioneer Priests of North America, by the Rev. T. J. Campbell (New York : 1908), 
and The Jesuit Missions, by Thomas Guthrie Marquis (Toronto : 1916). 

This portrait seems to be based on that in the composite picture representing the 
martyrdom of the Jesuit missionaries in Canada, engraved by Grégoire Huret and 
published in the Historia Canadensis of Father François de Creux, 1664. 

479 M. H \ \ ] I "'^ vivum pinx. \ [Facsimile of 

signature] Isaac Jogues 

Similar portrait. Bust. 

Print : about 3 x 2J^. PI. to Les Jésuites et la Nouvelle-France au XVII^ siècle, 
by Camille de Rochemonteix, vol. II (Paris : 1896). 

480 Isaac Jogues, S. J. [in list of illustrations] Portrait of 

Isaac Jogues, S. J.; photo-engraving from oil portrait by 
Donald Guthrie IVlcNab. 

Similar portrait, with modifications. 

Half-tone print : 5]4 x 3%. PI. to The Jesuit Relations and Allied Documents, edited 

by Reuben Gold Thwaites, vol. XXIII (Cleveland : 1898). 

This painting is one of a series of portraits of early Jesuit missionaries in Canada 
which are hanging in the Château de Ramezay, Montreal. They were painted by 
Donald Guthrie McNab ( ?-1923), a Canadian artist, about 1895. 

481 Rev. Isaac Jogues, S.J., Missionary to the Hurons. [On face of 
picture] Isaac Jogues S J 1607-1646 J Boyes 

Similar to preceding portraits. 

Half-tone print : 4J^ x 3. PI. to Old Huronia, by Arthur Edward Jones (Fifth Report 
of the Bureau of Archives for Ontario, by Alexander Fraser (Toronto : 1909). There 
are other copies in A History of Ontario, by Alexander Fraser, vol. I (Toronto and 
Montreal : 1907); Pioneers of the Cross in Canada, by Dean Harris (Toronto: 
[1912] ); and elsewhere. 

J. J. Boyes (b. 1865), a native of Bradford, Yorkshire, England, came to Canada 
about 1898. In 1907 he painted a series of portraits of early Jesuit missionaries in 
Canada: these portraits are now in the Church of the Immaculate Conception, 
Rachel St., Montreal. 

482 Le Fere Isaac Jogues. | (D'après une gravure de 1658.) 

Similar portrait, with modifications. 

Clipping. Print : about 3V2 x 2}^; with ornamental border, about 5x3. 

483 Isaac Jogues, S. J. | [statue for St. Joseph's Seminary Hall, Dun- 
woodie, N.Y. — Joseph Sibbel, sculptor.] 

Statue. W. L.: r. hand raising cross, 1. hand holding book. 

Half-tone print : 6'/i x 3%. PI. to R. G. Thwaites. op. cit., vol. XL (1899). Other 

copies are in the Rev. T. J. Campbell, op. cit., and A. E. Jones, op. ctt. 



107 
HENRI DE BOURBON, PRINCE DE CONDÊ 

1 September 1588 — 11 December 1646 

Henri H de Bourbon, Prince de Condé, first prince of the blood and 
premier peer of France, was, at the suggestion of Champlain, appointed 
viceroy of New France, in succession to his uncle, the Comte de 
Soissons, on November 22, 1612. He held the ofîfîce until February 
10, 1620, with the exception of a period from 1616 to 1619, when Condé 
was a political prisoner and the viceroyalty was entrusted to the Mar- 
quis de Thémines. 

484 [At top] NON VOLVISSE SAT EST. [in frame 

HENRY DE BOVRBON PRINCE DE 
CONDE 

[Under picture] 

Aux exploicts de ce Mars HercuV ne peut atteindre ^ 

Ny moins encof Cesar de trofées vétit; 

Mieux que ces deux Herôs ce PRINCE s'est jait peindre 

Dans le Temple Sacré d' Honneur et de vertu. 

L. Gaultier sculpsit, 1612. 

H. L.: to r.; with wide linen collar and cross of Saint Esprit. 
Line engr.: oval, iyi x 3; with ornamental border, rect., 5x4. 

Léonard Gaultier, or Gaiter, (c. 1561-1641), a native of Mayence, executed a large 
number of engravings in a style resembling that of Wierix and Crispin van de Passe. 

485 HENRI DE BOURBON, PRINCE DE CONDÉ, VICEROY OF 
NEW FRANCE | From Laverdière's Champlain in M^Gill University 
Library. 

Nearly H. L.: to r.; in lace collar and body armour. Representation 
of siege of Salces, captured by Condé in 1639, in r. background. In 
frame surrounded by military trophies. 

Half-tone print from line engr. : oval, 2}^ x IJ^; with border, rect.. 3Jé x S}^. PI. 
to The Founder of New France, hy Charles W. Colby (Toronto: 1915). There are 
other modern prints of this portrait. 



PIERRE LE GARDEUR DE REPENTIGNY 

C. 1610 — July 1648 

Pierre, son of René Le Gardeur, member of an old Norman family, 
and of Catherine de Corday, arrived at Quebec June 11, 1636. From 
1642 to 1647 he was commander of the Canadian fleet of the Com- 
pany of New France. In 1644 he went to France as a delegate 
from the inhabitants of Canada to the government. On April 16, 
1647, he received grants of the seigniories of La Chesnaye, or 
Lachenaie (afterwards divided into Lachenaie and Repentigny, or 
L'Assomption) and Bécancour. He died while on a voyage from 
France to Canada. 



108 

486 LE BUSTE DE PIERRE LeGARDEUR DE REPENTIGNY | 

À MASCOUCHE (L'ASSOMPTION) 

Statue. Bust on high pedestal. 

Half-tone print : 6yi x i. PI. to Monuments commêmoratifs de la province de 

Québec, by P. G. Roy, vol. II (Quebec : 1923). 

This bust, the work of Philippe Hébert, was unveiled July 4, 1910. 

CHARLES I 

19 November 1600 — 30 January 1649 

Charles I, second son of James I and Anne of Denmark, became 
heir-apparent to the British throne on the death of his brother, 
Prince Henry, in 1612, and succeeded his father on March 27, 1625. 
As a result of the civil war between king and parliament, and the 
troubles following thereon, he was found guilty of treason by a 
special "high court of justice", and beheaded. His reign saw 
extensive English settlements in New England; the attempt at a 
Scottish settlement in Nova Scotia; and the capture and restoration 
of the French establishments at Port Royal and Quebec. 

487 CHARLES STUART | Prince of Wales afterwards Charles I [In list of 
Illustrations] From Richard Cooper's engraving of the rare print by 
Delaram 

H. L.: to r. ; with large plumed hat, and neck-ruff; truncheon in 
r. hand. 

Photo-process print from line engr.: 3 x 2%. PI. to The Genesis of the United States, 
by Alexander Brown, vol. II (Boston and New York : 1890). 

488 [Inscription on frame] 1967 | | Anton VAN DYCK 
1599-1641 {Ecole Flamande) \ Char les I'^_'' TOI d'Angleterre 

W. L. : to 1.; 1. hand on cane, r. hand holding glove on hip; horse and 
attendants to r. 

Photo. : 13M X lOyé. There is a half-tone copy of this picture in Bryan's Dictionary 
of Painters and Engravers, edited hy George C. Williamson vol. II (London : 1919). 

This painting, sometimes designated "Le Roi à la Chasse", is in the Louvre, Paris. 
It is ranked as one of the finest portraits in the world. 

489 PLATE L || Charles I., King of England. | From an 
engraving by Robert Strange (1721-1792); original painting by Van- 
dyke (1599-1641). I History of All Nations. Vol. XIII., page 24. 

Same picture. 

Photo-process print from line engr.: 6!4 x 4%. PI. to A History of All Nations, 

edited by J. H. Wright and others, vol. XIII (Philadelphia and New York : [1905] ). 

Sir Robert Strange (1721-1792), a native of the Orkneys, was studying drawing at 
Edinburgh when he joined the rising of '45. He escaped to Paris, where he continued 
his studies. In 1751 he settled in London. He became one of the foremost engravers 
of the time, and in 1787 was knighted. The engraving of this portrait of Charles 
I is said to have been published in 1782. 



109 

490 XVII^ Siècle i 112 

Same portrait : figure of king only. 

Line engr. coloured : about 7x4. PI. to Costumes historiques des XV le, XV I le et 

XV I Ile siècles, by E. Lechevallier-Chevignard and Georges Duplessis, vol. II (Pans : 

1867) 

491 CHARLES I IN ARMOUR 1 THE HERMITAGE, ST. PETERSBURG 

W. L.: to r.; in armour; truncheon in r. hand, 1. hand resting on hilt 
of sword. 

Half-tone print : 5 x 2. Two other pictures on same plate. PI. to The Catholic 
Encyclopedia, vol. V (New York : [1909] ). 

The original by Van Dyck was formerly at Houghton in Norfolk, in the collection 
made by Sir Robert Walpole, the bulk of which was purchased by the Empress 
Catherine of Russia. 

492 PLATE X I V. | | King Charles I. | History of ah Nattons, Vol. XXI. 
page 278. 

T. Q. L.; slightly to r.; in armour; holding truncheon with both 
hands; helmet and crown on stand in r. background. 
Photo-process print : 4^ x 3M. PI- to J. H. Wright et al., op. cit.. vol. XXI. 

The original by Van Dyck is in Longford Castle. 

493 XII. WILLIAM FAITHORNE. | Portrait of Charles I. 
[Title on original] The Right High and most Mightie 
Monarch Charks \ by the grace of God Kinge of 
England Scotland \ France and Ireland Defender of 

the Faith, &C. \ Are to he sould hy Robert Peake at his shopp neere 
Hclborne Condiiitt. 

Nearly H. L.: slightly to r.; in armour, with George. In frame. 
Reproduction of line engr.: 8^x7; with border, 9?^ (including title, wyi) xl%. 
In Reproductions of Prints in the British Museum, New Series, Part IX (1900). 

This engraving seems to be from the same painting as that which follows. Sir Robert 
Peake (c. 1592-1667) was the son of Robert Peake, a painter to Jarnes I, and became 
an engraver and a print-seller "on Snow Hill near Holborn Conduit". On the out- 
break of the civil war he joined the royalists, served with distinction, and was knighted 
in 1645. He was taken prisoner the same year, and banished under the Protector. 
William Faithorne (1616-1691) was a pupil of Peake, under whom he worked for 
three or four years before he accompanied him into the royalist army. Taken 
prisoner with Peake, he was exiled to France, where he studied under Robert Nanteuil. 
About 1650 he returned to England: his plates thereafter are of the highest excellence 
that English line engraving had yet attained. He also worked in crayons and oils. 

494 Engraved by H. Robinson. | KING CHARLES THE FIRST. | 

OB. 1648. IfROM THE ORIGINAL OF VANDYKE, IN THE COLLECTION 

OF I THE RIGHT HON^^^ THE EARL OF PEMBROKE. | 

London, Published Ocf. 1, 1831, by Harding àr Lepard, Pall Mall East. 

T. Q. L.: full face; in armour; 1. arm on helmet, truncheon in r. hand; 
crown and sceptre beside helmet. 

Stipple engr.: 4% x 3%; with border, 5% x 4%. PI. to Portraits and Memoirs of the 
mcst illustrious personages of British History, by Edmund Lodge, 3rd éd., no. XXXIV 
(London : 1831). 

This painting is in the collection of the Earl of Pembroke at Wilton House, Salisbury. 



110 

495 Vandyke px. [KING CHARLES THE FIRST. 

Same portrait. H. L. 

Clipping. Stipple engr.: octagonal, 3% x 2^. Trimmed. 

496 CHARLES I i From the portrait by Sir Anthony Van Dyck at 
Windsor Castle | Face p. 82 

Three studies, nearly H. L., in the one drawing : that to left in profile, 
to r.; that in centre, full face; that to right, three-quarter view, to 1. 
Half-tone print : 5}^ x 6}^. In the collection of Historical Portraits chosen by 
Emery Walker and published by the Clarendon Press, vol. II (1911). 

This triple portrait was painted by Van Dyck, probably about 1637, to be sent to the 
Roman sculptor, Giovanni Lorenzo Bernini (1598-1680), that he might make a bust 
of the king. It seems to be later than Champaigne's similar portrait of Richelieu, 
from which, in that case, Van Dyck, doubtless, obtained the idea. It remained at 
Rome until about 1796, when it came to England, and in 1822 was purchased by 
George IV. The bust by Bernini was destroyed in a fire at Whitehall Palace in 1691. 

497 Van Dyck \ King Charles I. | (See p. 253) 

Nearly H. L.: to 1.; eyes directed to r. ; lace collar; star on cloak. 

Half-tone print : 6^ x 5. PI. to Art and Archaeology, vol. VI, no. 5 (November 
1917). 

At the time of publication of this print the original painting, formerly the property 
of the Earl of Denbigh, was in New York City. 

498 Copyright 1901 by G. Barrie & Son [On guard] ^))UVlt& 3 | RepHca by 
Sir Peter Lely, \ after the lost Painting by Sir Anthony Vandyke,] now 
at Dresden 

Similar portrait. Bust : to r. ; eyes directed slightly to 1. 
Print, coloured : oval, 3J^ x 2%. One other portrait on same plate. PI. to Lives of 
the Queens of England, by Agnes Strickland, Imperial Edition, vol. IX (Philadelphia; 
[1902] ). 

Pieter Van der Faes (1618-1680), whose father changed his name to Lely, was of 
Dutch nationality but born in Westphalia. He came to England in 1641, and devoted 
himself chiefly to portrait painting, following the style of Van Dyck. He became 
principal painter to Charles II, and was by him created a baronet. 

499 KING CHARLES THE FIRST. | As he sat before the High Court of Justice. 

T. Q. L.: to r. ; seated in armchair, in high hat and cloak; document 

in r. hand. 

Lith.: 6J^ x 45^. PI. to Magazine of American History, vol. XIII (1885). 

The original portrait is said to be at All Souls College, Oxford, and to be by Edward 
Bower, a seventeenth century artist of whom little is known. 

500 Engraved by — White, from an Original Painting. \ v>tHAr\l-/li(iS 1* 

Bust : to 1.; with lace and insignia collars and George. 

Clipping. Stipple engr.: oval, 3>^ x 2^ ; with outer hne of dots, 3^x2%. 

Trimmed. 

501 [On pedestal] CHARLES I. 

Similar portrait, reversed. In oval frame on pedestal, with ornaments, 

supporters, and inset of scene. 

Clipping. Line engr.; oval, 2% by 2; with border, rect., 4% x 2%. Trimmed. 



Ill 



502 Charles 1. 



Similar portrait. Nearly H. L.: to 1. Beneath portrait is vignette 
with title: "Charles 1?^ taken prisoner to Carisbroke Castle." 
Figures on either side of portrait, and bust, with scroll bearing title 
"COMMONWEALTH", at top. 

Clipping. Print : oval, -iK x 3%; with border, about 8x5. Trimmed. 

503 CHARLES. 1. 1 w. Proud. Sculp. 

Bust : toi.; in lace collar. In lyre-shaped frame, with crown, robe, 

headsman's axe. 

Clipping. Line engr.: 4}^ x 3^- Trimmed. 

504 CARO : I. [On tablet] Generosissimo] Viro Domino \ PHILIPPO Warwick] 
de Chissilherst in Com \ Kanty Equili Aurato | Hoc CAROLI primi \ Regis Sigillum \ 
H D F. S [Obverse of seal : inscription in border] CAl\.OL,Vo 

DEI GRATIA ANGLIC SCOTIA FRANCIS 
ET HIBERNI^ REX FIDEI DEFENSOR 1627 

[Reverse : same inscription with omission of date.] 

Obverse. W. L.: seated on throne, with crown, sceptre, orb, and 
insignia collar. Lion and unicorn holding standards of St. George and 
St. Andrew on either side. Reverse. W. L.: on horse-back; to 1; in 
armour, with brandished sword, shield and hound. 

Line engr.: each 5 H diam. PI. to A Genealogical History of the Kings and Queens of 
England and Monarchs of Great Britain, by Francis Sandford and Samuel Stebbing 
(London : 1707). 

505 fig. 1449. the statue of charles i at charing 
Cross 

Statue. W. L.: on horseback; in armour; bareheaded. 

Half-tone print : 6^8 x SJ/i. In text of A Record of European Armour and Arms, by 

Sir Guy Francis Laking, vol. V (1922). 

The figure was cast in 1633. It was designed by Hubert Le Sueur (1595 ?-1652 ?), 
a French sculptor who came to England about 1628. 

In the same work by Laking there is a small half-tone copy of an engraving showing 
an interior, with a W. L. portrait of Charles I, designated "Charles the Faire". It 
was evidently published at the time of his accession. 

506 CARO : I. [On tablet] Vno \ Spectatissimo \ Dn°. EDWARDO \ WALKER 

Equiti \ aurato GARTERO \Regi Armorum\principali.\ Sigillum hoc \ CAROLI. /•'"•I 
Regis. I //. D. F S. [Obverse and reverse of seal : inscription in border] 

CAROLVS DEI GRATIA MAGN^ BRIT- 
ANNIA FRANCIS ET HIBERNIA REX 
FIDEI DEFENSOR 1640 

Obverse. W. L. : seated on throne, with crown, sceptre, orb, and insignia 
collar. Lion and unicorn holding standards of St. George and St. 
Andrew on either side. Reverse. VV. L.: on horse-back; to 1.; in 
armour, with brandished sword, and hound. 
Line engr.: each 5H diam. PI. to Sandford and Stebbing, op. cit. 



112 

JAMES, DUKE OF HAMILTON 

19 June 1606 — 9 March 1649 

James, third Marquess and first Duke of Hamilton in the Scottish 
peerage, and second Earl of Cambridge in the English, was prominent 
in the affairs of the reign of Charles I, and was put to death on the 
sentence of the same high court of justice that condemned the king. 
On November 13, 1637, he, with the Earl of Pembroke, the Earl of 
Holland, and Sir David Kirke, had received a grant of the whole of 
Newfoundland. 

507 Engraved by W. Finden. | JAMES, DUKE OF HAMIL- 

TON. I OB. 1649. I FROM THE ORIGINAL OF VANDYKE, IN THE 

COLLECTION OF | HIS GRACE THE DUKE OF HAMILTON. | 

London, Published Sep. 1, 1829, by Harding &= Lepard, Pall Mall East. 

T. Q. L.: to 1.; in armour; truncheon in r. hand, 1. on helmet. 
Stipple engr.: 4% x 3%; with border, Syé x i^s- PI- to Portraits and Memoirs of the 
most illustrious personages of British History, by Edmund Lodge, 3rd éd., no. IX 
(London : 1829). 

The original is in Hamilton Palace. 



HENRY RICH, EARL OF HOLLAND 

August 1590 — 9 March 1649 

Sir Henry Rich, second son of Robert, Earl of Warwick, was created 
Earl of Holland in 1624. He was interested in the American settle- 
ments, and was one of the grantees of Newfoundland in 1637. He was 
condemned by the high court of justice, and beheaded with the Duke 
of Hamilton. 

508 HE'NRY Kicn \ First Earl of Holland [In list of Illustrations] From John 

Godefroy's engraving of the painting by Samuel Cooper. 

H. L.: tor. 

Photo- process print from line engr.: oval, 4^ x 3V2. PL to The Genesis of the 
United States, by Alexander Brown, vol. II (Boston and New York : 1890). 

Samuel Cooper (1609-1672), a native of London, became eminent as a miniature 
painter and executed portraits of many of the celebrities of his time. Jean Godefroy 
(1771-1839), born in London, was the son of a French engraver, François Godefroy, 
and became himself an engraver of note. His engraving of the Ear! of Holland was 
published in 1796. 

JEAN DE BRÊBEUF 

25 March 1593 — 16 March 1649 

Jean de Brébeuf, a native of Condé-sur-Vire in Normandy, entered 
the Society of Jesus on November 8, 1617, and came to Canada in 
1625. On March 16, 1649, he was captured by the Iroquois at the 
Huron village of St. Louis, taken to St. Ignace, and there tortured to 
death. 



113 

509 H. M. I D'ap. Greg. Huret. | [Facsimile of signature] Joannes de Brebeuf 
Soc Jes 

Nearly H. L.: toi. 

Print : about 3}^ x 3. PI. to Les Jésuites et la Nouvelle France au XVII' siicle, 
by Camille de Rochemonteix, vol. II (Paris : 1896). There is a copy of this picture 
in the text of Old Quebec The Fortress of New France, by Gilbert Parker and Claude 
G. Bryan (London and New York : 1903). 

This portrait is based on the composite picture engraved by Huret and published in 
16l64 in the Historia Canadensis of Father François de Creux. 

510 JEANDEBRÉBEUF, S.J. [In list of Illustrations] Portrait of 
Jean de Brebeuf, S. J.; photo-engraving from oil portrait 
by Donald Guthrie McNab. 

Nearly H. L.: to r. 

Half-tone print : 6 x 3^. PI. to The Jesuit Relations and Allied Documents, edited by 
Reuben Gold Thwaites, vol. IV (Cleveland : 1897). There are copies in Notre-Dame 
de Sainte-Foy, by the Abbé H. A. Scott, vol. I (Quebec : 1902); Serviteurs et Servantes 
de Dieu en Canada, by N. E. Dionne (Quebec : 1904); and elsewhere. 

511 Photogravure. Annan. Glasgow. [On original picture] Jean de Brébeuf, S.J. 
1593-1649 J Boyes [On guard] JEAN DE BRÉBEUF | 

From the painting in the House of the Immaculate Conception, Montreal 

Bust : to r. 

Photogravure : 5J4 x 4Ji. PI. to Canada and its Provinces, edited by Adam Shortt 
and Arthur G. Doughty, Authors' Edition, vol. II (Toronto : 1913). There is 
another photogravure copy in Crusaders of New France, by William Bennett iVIunro, 
Abraham Lincoln Edition (New Haven, etc.: 1918); also half-tone copies in 
A History of Ontario, by Alexander Fraser, vol. I (Toronto and Montreal : 1907) ; 
Old Huronia, by Arthur Edward Jones (Fifth Report of the Bureau of Archives for 
Ontario, by Alexander Fraser) (Toronto : 1909) ; and elsewhere. 

512 [On mount, in pencil] Buste en argent du Père Breboeuf 

Photo. : lOJ^ X 9H. 

According to tradition, the family of Father de Brebeuf had this ebony reliquary, 
surmounted by a silver bust, made and sent to Canada shortly after his death. There 
is no documentary evidence, however, to indicate the exact date. 

513 From a Silver Bust at Quebec. | FATHER JOHN DE BREBEUF, S.J. I 

FOUNDER OF THE HURON MISSION. \ KILLED MARCH 16, 1649 \ 
Edward Dunigan & Brother, 'N.Y. 

Silver bust on reliquary. 

Line engr. : about 5x4. PI. to History of the Catholic Missions among the Indian 
Tribes of the United States, hy John Gilmary Shea (New York : 1855). The same 
engraving is published in History and General Description of New France, by Charle- 
voix, translated by J. G. Shea, vol. II (New York : 1866). 

514 Copyright, 1897, by Little, Brown, &■ C°. Goupil è' C°. Paris. [On paper guard] 
Jean de Brebeuf. [In list of Illustrations] From the bust in the 
Hôtel Dieu, Quebec. 

Same object. 

Photogravure : 5 x 3%. On India paper, mounted. PI. to The Jesuits in North 
America, by Francis Parkman, Champlain Edition, vol. II (Boston : 1897). 

515 LA STATUE DU PÈRE DE BRÉBEUF I FAÇADE 
DU PALAIS LÉGISLATIF, À QUÉBEC 



Statue. W. L. : raising cross with r. hand, holding book in 1. hand 
Half-tone print : 6M x 4. PI. to Les Monuments commémoratifs de la provinc 
Québec, by Pierre Georges Roy, vol. I (Quebec : 1923). 

This Statue, the work of the sculptor Alfred Laliberté, was installed in 1912. 



114 

GABRIEL LALEMANT 

10 October 1610 — 17 March 1649 

Gabriel Lalemant, a native of Paris, nephew of the Jesuit fathers 
Charles and Jerome Lalemant, entered the Jesuit Order on March 24, 
1630; arrived in Canada, September 20, 1646; and in August, 1648, 
went to the Huron missions. He was captured by the Iroquois at the 
village of St. Louis on March 16, 1649, taken to St. Ignace, and there 
tortured to death. 



516 H. M. I d'ap. Grég Huret [Facsimile of signature] Gabriel Lalement Soc. 
Jesu 

Nearly H. L.: to r. 

Print : about 3J^ x 3. PI. to Les Jésuites et la Nouvelle-France au XV 11^ siècle, by 
Camille de Rochemonteix, vol. II (Paris : 1896). There is a copy of this picture in 
the text'of Old Quebec The Fortress of New France, by Gilbert Parker and Claude G. 
Bryan (London and New York : 1903). 

517 Gabriel Lalemant, S. J. [in ust of illustrations] Portrait of 
Gabriel Lalemant, S. J.; photo-engraving from oil portrait 
by Donald Guthrie McNab. 

Nearly H. L.: to r. 

Half-tone print : 6 x i%. PI. to The Jesuit Relations and Allied Documents, edited 
by Reuben Gold Thwaites, vol. XXXIV (Cleveland : 1898). This portrait is also 
reproduced in Notre-Dame de Sainte-Foy, by the Abbé H. A. Scott, vol. I (Quebec : 
1902); Serviteurs et Servantes de Dieu en Canada, by N. E. Dionne (Quebec : 1904); 
and elsewhere. 

AU portraits of Lalemant seem to be based on the composite picture published in the 
Historia Canadensis of Father de Creux (Paris: 1664). The portrait by McNab, 
painted about 1895, is now in the Château de Ramezay, Montreal. 

518 Rev. Gabriel Lalemant, S. J., Missionary to the Hurons. [On original 
picture] Gabriel Lalemant S. J. 1610-1649 J. Boyes 

Bust : to r. 

Half-tone print : 4x3. 'PL to Old Hiironia,'by Arthur Edward Jones (Fifth Report 
of the Bureau of Archives for Ontario, by Alexander Fraser) (Toronto : 1909). 
There are other copies of this picture in A History of Ontario, by Alexander 
Fraser (Toronto and Montreal : 1907) ; Pioneers of the Cross in Canada, by Dean 
Harris (Toronto : [1912] ); and elsewhere. 



JOHN WINTHROP 

12 January 1588 — 26 March 1649 

John Winthrop, a native of Sufïolk, was elected governor of the colony 
of Massachusetts Bay in 1629, when it was decided to transfer the 
government from England to America. He arrived in Massachusetts 
in 1630, and was re-elected governor until 1634, and at intervals there- 
after until his death. He was governor in 1643, when help was given 
by Massachusetts to Charles de La Tour, and in 1646, when a peace 
was made with La Tour's rival, D'Aunay Charnisay. 



115 

519 Vandyke C. W. Sharpe \ From an original Portrait in the \ Senate 
Chamber of Massachusetts. \ [Facsimile of signature. ] GOVERNOR OF 
MASSACHUSETTS. 

H. L.: to r.; with neck-ruff. Oval, in rect. setting. Coat of arms in 
title margin. 

Stipple and line engr. ; 4% x 3%. PI. to The Ihstory of New England from 1630 
to 1649, by John Winthrop, edited by James Savage, new éd., vol. I (Boston : 1853). 
There is also an engraving by J. G. Kellogg, exactly similar to this except that the 
work is less fine. 

Th^s is a contemporary portrait of Winthrop, but the attribution to Van Dyck is 
unfounded. C. W. Sharpe was an engraver who was living in London from about 
1830 to about 1870. 

520 Copyright 1903 by G. Barrie &■ Sons [On guard] JOHN WINTHROP | 

Governor of Massachusetts. | From the original painting by Van Dyke, now 
in the Massa- \ chusetts State House, Boston. 

Same portrait. 

Photogravure : 4^^ x 3%. PI. to The Histnry of North America, edited by Guy 

Carleton Lee, University Edition, vol. V. (Philadelphia : [1904] ). 

521 [Facsimile of signature.] [On guard] Portrait of \ J Q h fl 
W^ifl thv Op I From the painting in \ the Massachusetts 
State House \ Reproduced from portrait \ attributed to Vandyke. \ 
Signature from autograph \ letter dated March 14, \ 1629, in the New 
York I Public Library {Lenox \ Building). \ Coat of Arms, in colors of \ 
original, from Vermont's \ '^America Heraldica." 

Same portrait. Coat of arms in lower margin. 

Colour half-tone print : 4M x 3%. PI. to A History of the United States and its 

People, by Elroy McKendree Avery, vol. II (Cleveland : 1905). 

522 Heliotype Printing Co. Boston. \ STATUE OF JOHN WIN- 
THROP. I ScoLLAY Square, Boston. 

Statue. W. L.: on high pedestal. 

Heliotype print : 7}4 x 4J^. PI. to The Memorial History of Boston, edited by Justin 

Winsor, vol. I (Boston : 1880). 

This statue, in bronze, was unveiled September 17, 1883. It is the work of Richard 
S. Greenough (1819-1904). 



MARIE ROLLET 

? — May 1649 

Marie Rollet was the wife of Louis Hébert, the first true settler in 
Canada. After his death she married, on May 16, 1629, Guillaume 
Hubou. She was buried at Quebec, May 27, 1649, 

523 Groupe représentant Madame Hébert et ses Enfants 

Statue. W. L.: seated. 

Half-tone print : 4 x 3. In text of Les Premiers Colons du Canada, by the Abbé 

Couillard-Després [1918]. 

This is a group flanking the pedestal of the statue of Louis Hébert at Quebec, unveiled 
September 3, 1918. 



116 

PHILIP HERBERT, EARL OF PEMBROKE 
AND MONTGOMERY 

10 October 1584 — 23 January 1650 

Philip Herbert, second son of the second Earl of Pembroke, was created 
Earl of Montgomery in 1605 and succeeded his elder brother William as 
Earl of Pembroke in 1630. He was an incorporator of the North 
West Passage Company in 1612 and one of the grantees of Newfound- 
land in 1637. He joined the parliament in the civil war, and was 
appointed a commissioner for plantations. 

524 PHILIP HERBERT 1 First Earl of Montgomery [In list of Illustrations] 

From E. Scriven's engraving of the original of Vandyke in the 
collection of the Right Honorable the Earl of Pembroke, 1836. 

T. Q. L.: to 1.; seated; with broad lace collar, cloak with Star of the 
Garter, collar of Garter and George; key at girdle; wand in 1. hand. 

Photo-process print from stipple engr. : 4J^ x 3}^. PI. to The Genesis of the United 
States, by Alexander Brown, vol. II (Boston and New York : 1890). 

This portrait is from the figure in the group painting of the Earl's family, by Van 
Dyck, at Wilton House. 



D'AULNAY CHARNISAY 

C 1596 — 24 May 1650 

Charles de Menou, third son of René de Menou, seigneur de Charnisay, 
and himself known as the seigneur d'Aulnay Charnisay, was a relative 
of Isaac de Razilly, whom he accompanied to Acadia in 1632, He suc- 
ceeded Razilly as governor in November, 1635, and became involved 
in a long struggle with Charles de La Tour, In 1650 he was drowned 
in the Annapolis river. 

525 [On reverse] D'Aulnay de Charnisay [On face of picture] 

Agé de 37 \ mis \ 1642 

H. L.: to r.; looking to 1.; in linen collar. 
Photo, from a coloured photo.: ?>% x 7Ji. 

The original coloured photograph, which appears to have been taken from an oil 
painting, is in the possession of Dr. J. C. Webster of Shediac, N.B., by whom this 
copy was presented to the Public Archives. 



OMER TALON 

1595 — 29 December 1652 

Omer Talon, third in descent from Artus Talon, who is said to have 
been an Irishman who came to France in the sixteenth century, had a 
brilliant career as avocat général of the Parlement of Paris. Jean Talon, 
intendant of New France, was his second cousin, once removed. 



117 

526 TALON. (Orner) | Avocat Général au Parlement de Paris. | 
(né en 1595, mort en 1652.) | d'après le Tableau de Philippe de Champagne. 

W. L.: to 1.; looking to front; in robes of office. 
Etching : about 8x55^. 

JOHN DIGBY, EARL OF BRISTOL 

February 1580 — January 1653 

John Digby, diplomat and statesman, was knighted in 1606 and created 
Baron Digby of Sherborne in 1618, and Earl of Bristol in 1622. Under 
James I he served as English ambassador at the Spanish and other 
courts. During the civil war he supported the king, and at its con- 
clusion retired to France, where he died. He was a member of the 
North West Passage Company in 1612. 

527 JOHN DIGBY, FIRST EARL OF BRISTOL | From a contem- 
porary engraving 

[Original title : on frame] HONORATISS : D' ID DIGBY 

COMES BRISTOL : BARO DE SHIRBORNE. 

[Under portrait] The right Honorable John Digby Earle of 
Bristol I Baron of Shirborne, Vice Chamberlaine to his 
Ma^^^, 1 and one of the Lords of his Maiesties most 
Honorable \ privy Counsell : and Embassador extraordinary 
to the I high and Mightie Philip the fourth king of Spaine. \ 

Are to be Sould by William Peake. 

H. L.: to r.; in plumed hat, neck-ruff and cloak; wand in r. hand. In 
oval frame in cartouche. 

Half-tone print from line engr.: oval, 5]^-x.2%\ with border, rect., i^ (with title 
5J4) X i%,. One other on same plate. In the collection of Historical Portraits 
chosen by Emery Walker and published by the Clarendon Press, vol. II (1911). There 
is a copy of this portrait, reversed and not quite H. L., in The Genesis of the United 
States, by Alexander Brown, vol. I (Boston and New York : 1890) , where it is said to 
be from an old engraving. 

The original is attributed, doubtfully, to R. Elstracke. 

POPE INNOCENT X 

6 May 1574 — 7 January 1655 

Giambattista Pamfili, a native of Rome, was created cardinal in 1626 
and elected Pope in 1644, succeeding Urban VIII. It is said that he 
gave personally to the Jesuit missionary Francisco Guiseppe Bressani, 
whose hands had been mutilated by the Iroquois, authorisation to 
continue saying mass. 

528 INNOCENT X | VELASQUEZ, PALAZZO DORIA, ROME 

T. Q. L.: to r.; seated; 1. hand holding document. 

Half-tone print : 6?i x 5^- PL to The Catholic Encyclopedia, vol. VIII( New York: 
[1910] ). 

Diego Rodriguez da Silva y Velazquez (1599-1660) was a native of Seville who be- 
came painter to Philip IV of Spain and one of the world's greatest artists. His 
portrait of Innocent X, painted during a visit to Rome in 1650, is considered one of 
hia best works. 



118 



529 POPE INNOCENT X. 



Bust : to r.; seated; r. hand raised in benediction. 

Half-tone print : oval, i]/i x 2%; with border, rect., 5 x 3J^. PI. to Pioneer Priests 
of North America, by T. J. Campbell, S. J. (New York : 1908). 

JEAN JACQUES OLIER 

20 September 1608 — 2 April 1657 

Jean Jacques Olier, a native of Paris, was ordained priest in 1633 and 
became a leader in the revival of religion in France. In 1640 he and 
JéromeLe Royer de La Dauversière founded the Society of Notre-Dame 
de Montréal, which acquired the Island of Montreal and in 1641 sent 
out an expedition to establish there a missionary settlement. In 1641 
Olier and some associates took charge of the parish of St. Sulpice in 
Paris, where he organised the Society and founded the Seminary of St. 
Sulpice. He continued to take an interest in Montreal, and in 1657 
sent thither four of his Sulpician priests. 

530 J. J. Olier, fondateur de St. Sulpice \ et de la Colonnie de Montréal. \ 
MATTHEWS' LITH. 

Nearly H. L.: to r.; in skull cap, broad linen collar, and surplice. 
Lith.: 5% x 2^. PI. to Abrégé de la Vie de M. Olier (Montreal : 1847). 

531 M- J. J. OLIKR I Fondateur du Séminaire S. Sulpice \ et de 
la Colonie de Montréal | Paris. P. DIEN imp. r. HautefeuiUe, 32 

Same portrait. 

Stipple and line engr.: Zyk x ly^. PI. to Abrégé de la Vie de M. Olier (Montréal : 

1866). 

532 Imp''*? de P. Dien, 32, r. HautefeuiUe, Paris. | J. J. OLIER, | 

Fondateur du Séminaire de Saint-Sulpice, | Né à Paris le 20 
Septembre 1608, mort le 2 Avril 1657. 

Same portrait. 

Line engr.: 4% x 3%. On India paper, mounted. PI. to History and General 
Description of New France, by Charlevoix, translated by John Gilmary Shea, vol. II 
(New York : 1866). 

533 Copyright, 1S97, by Little, Brown, &> C? Goupil èf C° Paris. [On paper guard] 
Jean Jacques Olier. [In list of Illustrations! From the original 
painting in the Seminary of St. Sulpice, Paris. 

Same portrait. H. L. 

Photogravure : 4^ x 3^. On India paper, mounted. PI. to The Jesuits in North 

America, by Francis Parkman, Champlain Edition, vol. II (Boston : 1897). 

534 Imitatores met estate sicut et ego Christi. | | J. Boulanger pinx [ ] 

Carrière del. \ Jean-Jacqucs OLIER, | MC CTi Septembre 1608, 

' mort à Paris le 6 Avril 1657, \ Filioli met quos iterum parturio 
donec fcr-\ metur Christus in oobis. 

Same portrait. Nearly H. L. 

Clipping. Lith.: 4H x 3. There is a copy of this portrait, T. Q. L., m Montreal 
iiJi-iPy'/, by William Henry Atherton, vol. I (Montreal, etc.,: 1914); and there are 
other modern prints. 



119 

Jean Boulanger (1607-c. 1680), draughtsman and line engraver, was born at Amiens 
and died at Paris. Antoine Fulcrand Carrière (1804-1856), lithographer, was born 
at St. Afrique (Aveyron) and died at Agen. 

535 LA STATUE DE M. OLIER | JARDIN DU SÉMINAIRE DE SAINT- 

SULPICE. À MONTRÉAL 

Statue. W. L.: book in 1. hand. 

Half-tone print : 6}4 x 4yi. PI. to Le 
Québec, by Pierre Georges Roy, vol. I 

This statue was erected in the autumn of 1864 



Half-tone print : 6}4 x. iye,. PI. to Les Monuments commémoratifs de la province de 
Québec, by Pierre Georges Roy, vol. I (Quebec : 1923). 



OLIVER CROMWELL 

25 April 1599 — 3 September 1658 

Oliver Cromwell, a native of Huntingdon, who, as a result of the 
civil war, became the most powerful personage in England, was in- 
stalled as Protector on December 16, 1653. In 1654 an English naval 
expedition, assisted by forces from Massachusetts, seized Acadia, and 
in 1656 Cromwell made a grant thereof to Charles La Tour, Thomas 
Temple and William Crowne. 

536 PLATE IV. | | Oliver Cromwell. | From the drawing (1740) 
by John Faber (1684-1756), after the painting (1653) | by Peter Lely 
(1617-1680). I History o/ All Nations, Vol. XIII., page 46. 

Bust : looking to r.; in armour. 
Print : oval, 4 J^ x 3 J-^ ; with border, rect. 

Johan Faber (1684-1756) the younger, son of John Faber the elder, was born in 
Holland and died in London. He was highly esteemed as a mezzotint engraver. 

537 PLATE XL | | Oliver Cromwell as Protector. | Facsimile 
(not quite one-third of the original size) of the allegorical engraving 
by William | Faithorne (1616-1691): "The Emblème of Englands 
Distractions as also of her attained and] further expected Freedom 
and Happiness per H. M. 1658." | History of All Nations, Vol. XIII., 
page 124. 

W. L.: looking to 1.; in armour; r. hand holding sword passing 
through three crowns; 1. hand holding open book. Surrounded by 
various emblematic devices, scenes and inscriptions. 

Print : f>]4 x 4J4. PI. to A History of All Nations, edited by J. H. Wright and 
others, vol. XIII (Philadelphia and New York : [1905] ). 

This plate was afterwards altered to represent William III. 

538 Engraved by H. Robinson. | OLIVER CROMWELL. | OB. 1658. | 
FROM THE ORIGINAL OF WALKER, IN THE COLLECTION OF | 

• THE RIGHT HON^^^ THE EARL SPENCER. | London, Published 
June 1, 1830, by Harding &-■ Lepard, Pall Mall East. 

T. Q. L.: to r.; in armour; r. hand holding truncheon, 1. hand on hilt 
of sword. Page adjusting sash. 

Stipple engr.: 4% x 3J4. PI. to Portraits and Memoirs of the most illustrious person- 
ages of British History, by Edmund Lodge, 3rd éd., no. XX (London : 1830). There 
is a copy of this portrait, bust only, in Magazine of American History, vol. XVI il, 
no. 5 (Nov., 1887). 

Robert Walker ( ?- 1658 or 1660), a native of London, was an imitator and perhaps a 
pupil of Van Dyck. He came into prominence under the Commonwealth, when he 



120 

painted portraits of several republican leaders. He painted Cromwell several times. 
Of this portrait there are two copies, both ascribed to Walker, one at Althorp, the 
seat of the Earl Spencer, and the other in the National Portrait Gallery, London. 
It has been said that the page in the picture is Cromwell's son Richard. 

539 Engraved by E. scriven. \ CROMWELL. | FroTTi the Picture 
presented by Cromwell to Col: Rich, | and bequeathed by his 

great grandson. Sir Rob^. Rich, Bar^. to the British Museum. \ 

Under the Superintendance of the Society for the Diffusion of Useful 
Knowledge. | London, Published by Charles Knight, Ludgate Street, of Pall Mall 
East. 

Same picture. H. L. 

Stipple engr. : i%x3%; with border, 5^ x 4>g. PI. to The Gallery of Portraits 
vol. IV. (London : 1835). 

540 CROMWELL. 

Same portrait. Bust. 

Clipping. Stipple engr.: about 214 x 2. Trimmed. 

541 Copyright 1901 by G. Barrie & Son [On guard] (J^Ubet CrOmiîJCll | 

After the Painting by Robert Walker \ in the collection of the Earl of 
Sandwich, at \ Hinchingbrook, England 

Bust : to 1.; in armour. 

Print, coloured : oval, 3J^ x 2%. One other portrait on same plate. PI. to Lives 

of the Queens of England, by Agnes Strickland, Imperial Edition, vol. IX (Philadelphia: 

[1902]. 

542 OLIVER CROMWELL | From the miniature by Samuel Cooper 
belonging to the Duke of Buccleugh, K. G. 

Bust : head turned to r. 

Half-tone print : 3^ x 2J/2- In the collection of Historical Portraits chosen by 
Emery Walker and published by the Clarendon Press, vol. II (1911). There is 
another copy in The Encydopcedia Britannica, 11th edition, vol. XIII (Cambridge 
1911). 

543 No title. 

Similar portrait. 
Photo. : 4x 3}4. 

544 OLIVER CROMWELL. 

Nearly H. L.: to 1.; in armour. In frame. 

Woodcut: oval, 4x3; with margin, rect., S% x i'H. In text of The Memorial 

//wtory o/ Bo5/on, edited by Justin Winsor, vol. I (Boston : 1880). 

The following note is added: "This is engraved, by permission of the Hon. Robert 
C. Winthrop, from a contemporary miniature, ascribed to Cooper, whose ownership 
is traced back from Mr. Winthrop through the late Joseph Coolidge, President 
Jefferson, and Geo. W. Erving." 

545 Zyn Hoocheit de H^ Olivier Cromwel, Protecteur van | 
Engelant, Scotlant en Yerlant, groot Constapel van \ de selve; Binder en 
ontbinder der voorsz. \ 3 natien. 

H. L.: to 1.; in armour; with scarf, chain and medal with letters 
"OC". 

Etching : oval, 9}4 (including title segment) x 7. 



121 

546 HIST. D'ANGLETERRE. | | OLIVIER CROMWELL. | 

Vander-Werf pinxi Landon direx'. 

Nearly H. L.: to r.; in armour. 

Outline engr.: 2J4x2}4. PI. to Galerie historique des hommes les plus célèbres, by 
C. P. Landon, vol. X (Paris : 1807). 

Two brothers of the name Van der Werff attained considerable fame as painters, 
•Adriaan (1659-1722) and Pieter (1665-1721). Both were born at Kralinger-Ambacht, 
near Rotterdam, and both died at Rotterdam. 

547 [....] et grav par Joubert 1832 \ CROMWEL | (Olivier) I Né à 
Huttington en 1599. \ Mort en 1658 \ Publié par Blaisot. 

Bust : to 1.; in plumed hat. 
Clipping. Line engr.: about 3 x2}4- 

Ferdinand Jean Joubert (1810-1884), a native of Paris, was an engraver who began 
work in illustration about 1830. He lived for a time in London. 

548 [On scroll] OLIVER CROMWELL 

H. L. : looking to 1. 

Clipping. Line engr.: dark background, rounded at top : 4x2J^; with lighter 

margin, rect., 4^ x 2^. Trimmed. 

549 Title missing. 

H. L.: in armour; looking to 1. 

Clipping. Stipple engr.: about 4 X 3Ji. Trimmed. 

JEAN DE BERNIÈRES-LOUVIGNY 

1602 — 17 May 1659 

Jean de Bernières-Louvigny was the third son of Pierre de Bernières, 
Baron de Louvigny et d'Acqueville. He succeeded his father and his 
brother as treasurer of France in the district of Caen. In 1646-49 
he built at Caen a "Hermitage", where, although a layman, he gave 
spiritual direction to a group of associates, among whom were for a 
time the future Bishop Laval and his own nephew, Henri de Bernières, 
afterwards first curé of Quebec. He was also a counsellor of Madame 
de La Pel trie and of Marie de L'Incarnation. 

550 Messire lean de Bernières Louuigny | Escuier Conseiller du 
Roy et I trésorier de France a Caen, mort \ le 3. may 1659. 
aagé de 57. ans. | J670 \ Landry sculp. 

H. L.: to r.; with broad linen collar; hands joined. 
Clipping. Line engr.: 4 (with title margin, 5M) x 3}4. Trimmed. 

Pierre Landry (c. 1630-1701) was an engraver and publisher of Paris who attained 
to considerable distinction. 



122 

JÉRÔME LE ROYER DE LA DAUVERSIÈRE 

2 May 1597 — 6 November 1659 

Jérôme Le Royer, Sieur de La Dauversière, was a native of La Flèche in 
Anjou, where he became receiver of taxes. He was the first to con- 
ceive the design of establishing a religious colony at Montreal in 
Canada, and in 1640 he, with Jean Jacques Olier and others, organised 
the Society of Notre Dame de Montréal, by which that design was put 
into effect. In 1639 he had founded at La Flèche the community of 
"Filles Hospitalières de St. Joseph", three of whom were sent to 
Montreal in 1659 to take charge of the Hôtel-Dieu. 

551 Paris. Imp. Dien, R. Hautefeuille, 32. L. Massard del ei sculps. I JEROME 

LE ROYER BE LA DAUVERSIÈRE, | INSTI- 
TUTEUR DES SŒURS HOSPITALIÈRES DE LA FLÈCHE, | 
né le 2 Mai 1597, décédé le 6 Novembre 1659. [On face of 
picture] OBIIT. 6 NOV 1659 | AT 63. 

H. L.: to r.; with skull-cap and broad linen collar. Coat of arms in 
upper 1. hand corner. 

Line engr. : 4% x 3^. PI. to Mémoires particuliers pour servir à l'histoire de l'église 
de V Amérique du Nord — Tome III — Ire Partie — Vie de Mademoiselle Mance [by the 
Abbé Paillon] (Paris : 1854). There is a woodcut copy of this portrait in Histoire des 
Canadiens-Français, by Benjamin Suite, vol. I (Montreal : 1882), and a photogravure 
reproduction, on India paper, in The Old Régime in Canada, by Francis Parkman, 
vol. I (Boston : 1897). 

The artist was probably Leopold Massard, who has beeen mentioned in connection 
with the earliest printed representation of Jacques Cartier. 

ADAM BOLLARD DES ORMEAUX 

1634 or 1635 — 21 May 1660 

Adam Dollard, Sieur des Ormeaux, came to Montreal probably in 1658. 
In the spring" of 1660 he led a party of sixteen up the Ottawa river to 
check an impending attack of the Iroquois. He and his men were 
killed at a spot usually identified as the foot of the Long Sault rapids, 
but the Iroquois suffered such losses that they abandoned their design 
of attacking the French settlements. 

552 [Inscription on base] 1660 DOLLARD des ORMEAUX 

Statue. W. L.: r. hand elevating sword. A French and an Indian 
warrior kneeling at either side. 
Photo.: 6H, .X 41.^. 

This statue is the work of Philippe Hébert, and was modelled in 1916. It is the 
private property of Mr. P. M. Wickham, St. Lambert, Quebec. Louis Philippe 
Hébert (1850-1917) was born at Sainte Sophie d'Halifax, in the province of Quebec, 
and in early life worked on a farm. After studying art in Paris he returned to Canada 
and became the foremost Canadian sculptor of his time. 

553 LE MONUMENT DE DOLLARD | À CARILLON (ARGENTEUIL) 

Bust on monument. 

Half-tone print : 634 x 4. PI- to Les Monuments commimoralifs de la province de 

Québec, by Pierre Georges Roy, vol. II (Quebec : 1923). 



123 

This monument, designed by the sculptor Alfred Laliberté, stands on the spot 
where, it is believed, Dollard and his companions were killed. It was unveiled on 
May 24, 1919. 

554 Le groupe principal du monument. 

Statue. W. L.: r. hand grasping sword; wounded companion at feet, 
allegorical figure above head. 

Half-tone print : 6 x 3}-^. PI. to Dollard des Ormeaux et ses compagnons, by E. Z. 
Massicotte (Montreal : 1920). Views of the whole monument are in the same work, 
and in Pierre Georges Roy, op. cit., vol. I. 

This monument, designed by Laliberté, stands in the Pare Lafontaine, Montreal. 
It was unveiled on June 24, 1920. 



CARDINAL MAZARIN 

14 July 1602 — 9 March 1661 

Jules Mazarin, son of Pietro Mazarini, of an old Sicilian family, was 
born either at Rome or at Piscina in the Abruzzi. He had attained 
high distinction in the papal service before he, in 1639, transferred his 
allegiance to France. In 1641 he was made cardinal, and on Richelieu's 
death he succeeded to the position of first minister, which he retained, 
with the exception of two short periods of exile in 1651-3, until his 
death. 

555 CARDINAL MAZARIN. \ Engraved by W. Greaibatch from a rare \ 

print by Nantueil. {1655.) 



Nearly H. L.: to r. 

Clipping. Line engr.: about 3% x 3^- 



W. Greatbatch was a line engraver who was working in London from about 1820 
to about 1850. This print was published in Life and Times of Louis XIV, by 
G. P. R. James, vol. II (London: 1838). 

556 PLATE IX. | | Cardinal Mazarin in his Gallery | Reduced 
facsimile of a copper-plate engraving, 1659, by Robert Nanteuil 
(1630-1678). Original drawing by François Chauveau (1620-1676). i 
History of All Nations, Vol. XIII., page 112. 

W. L.: seated ; to ).; r. hand resting on table and holding plan. 
Globe in 1. foreground, hall with statuary in 1. background. 
Photo-process print : 7 x S%. PI. to A History of All Nations, by J. H. Wright and 
others, vol. XIII (Philadelphia and New York : [1905] ). 

François Chauveau (1613-1676), painter and engraver, was a native of Paris. His 
work was chiefly as an engraver, and he produced a very large number of plates. 

557 Fig. 26. — Mazarin. A reduced facsimile of an engraving by Peter 
van Schuppen (1623- 1 1707). Original painting by Pierre Mignard 
(1612-1695). 

lOn original] P. Mignard Pint. p. Van Schuppen sculpebat 1662. 

Bust : to r. Coat of arms and allegorical insets in border. 

Print : oval, 3M x 2^i; with border, rect., 53^ x 4Ji. In text of J. H. Wright and 
others, op. cit. 

Pierre Mignard (1610-1695), a native of Troyes, studied art at Bourges, Paris and 
Rome, and remained in Italy until 1657, when he returned to France. He rose to 
the foremost position among French artists. He was expecially noted for his 



124 

portraits and historical scenes. Pieter van Schuppen (1623 or later-1702), a native 
of Antwerp, studied under Nanteuil at Paris and attained considerable fame as an 
engraver, chiefly of portraits. 

558 HIST. DE FRANCE. | | MAZARIN. | Mignard pinx[ Landon 
direx{ 

Same portrait. 

Etching : 2^ x 2>é; with border, 3^ x 2^. PI. to Galerie historique des hommes 
les plus célèbres, by C. P. Landon, vol. VIII (Paris : 1806). 

559 Mignard pinx'. I lilh de Delpech. Maurlu | MAZARIN. ] 

Tiré du Cabinet de M., Le Ch., Lenoir. 

Similar portrait. To 1. 

Lith.: about 10 x 8}^. PI. to Iconographie Française, by Madame Delpech, vol. I 
(Paris : 1840). 

560 CARDINAL MAZARIN 1 PAINTING BY PHILIPPE DE CHAM- 
PAGNE 

W. L.: to 1.; seated; paper in 1. hand. 

Half-tone print : 7^ x 5J^. PI. to The Catholic Encyclopedia, vol. X (New York : 
[1911] ). 

561 PHOTOGRAVURE. CO. N. Y. j MAZARIN 
H. L. to 1. 

Photo-process print from engr.: about 3J^ x 3J^. PI. to France under Mazarin, by 
James Breck Perkins, vol. II (New York and London : 1886; 5th impression, 1902). 

FRANÇOIS CHRISTOPHE DE LEVIS, DUC D'AMVILLE 

? — 9 September 1661 

François Christophe de Levis Ventadour, Comte de Brion, Duc d'Am- 
ville (or de Damville) , was the son of Anne de Levis, Duc de Ventadour, 
and of Marguerite, daughter of Henry I, and sister of Henry H, Ducs 
de Montmorency. His brother, the Duc de Ventadour, when resigning 
the viceroyalty of New France in 1627, wished to have him succeecd, 
but RicheHeu would not consent. He received the appointment only 
after Richelieu's death, in November, 1644, and retained it till August, 
1660. 

562 Francois Christophle de Leuy Vantadoiir Due \ d'Amville 
Comte de Brion Premier Escuier de \ Monseigneur le Duc 

d Orléans | B. Moncornet excudit Cum Priuilegio Regis. 

Nearly H. L.: to r.; in broad collar and body armour. Coat of arms 

and laurel wreath above. 

Line engr.: oval, 5yi x 4. There is also a modern print from this picture. 

LAMBERT CLOSSE 

C 1620 — 6 February 1662 

Raphael Lambert Closse was born near Tours, France. He became 
serjeant-major of the garrison at Montreal and distinguished himself in 



125 

the defence of the settlement against the Iroquois. He was killed in 
a fight with those Indians. 

563 LAMBERT CLOSSE 1 (By Philippe Hébert) 

Statue. W. L.: crouching ; pistol in r. hand; the dog "Pilote" under 
1. arm. 

Half-tone print : 5 x 3}4. PI. to Montreal 1535-1914, by William Henry Atherton. 
vol. I (Montreal, etc. : 1914). There is a larger print in Quebec at the Dawn of the 
XXih Century, by A. B. Routhier (Montreal : 1904), and representations of the 
figure are given in several other publications. 

This is one of the four bronze castings at the corners of the pedestal of the Maison- 
neuve monument, in the Place d'Armes, Montreal, which was unveiled on July 1, 
1895. It is the work of Philippe Hébert. 

ELIZABETH, QUEEN OF BOHEMIA 

C 19 August 1596 — 13 February 1662 

Elizabeth, daughter of James I and of his queen, Anne of Denmark, was 
married, in 1613, to the Elector Palatine, Frederick V. In 1619 he was 
elected King of Bohemia, an event which brought on the Thirty 
Years War. She was the mother of a large family, among whom were 
Prince Rupert, first governor of the Hudson's Bay Company, and the 
Electress Sophia of Hanover, mother of George I . 

564 ELIZABETH, QUEEN OF BOHEMIA | From the portrait by 
J. van Miereveldt in the National Portrait Gallery | Face p. 76 

Nearly H. L.: to 1.; with lace neck-ruff, richly ornamented dress, and 
ropes of pearls. 

Half-tone print : 6}^ x 5}/2. In the collection of Historical Portraits, chosen by 
Emery Walker and published by the Clarendon Press, vol. II (1911). 

Michiel Janszoon van Mierevelt, or Miereveldt, (1567-1641) was born at Delft, 
in the Netherlands, and resided there, or at the Hague, throughout his life. He 
became a portrait painter of great industry and distinction. 

565 Engraved by H. T. Ryall. | ELIZABETH, QUEEN OF 

BOHEMIA. I DAUGHTER OF KING JAMES THE FIRST. | 

OB. 1662. I FROM THE ORIGINAL OF HONTHORST. IN THE COLLEC- 
TION OF I THE RIGHT HON^.^^ THE EARL OF CRAVEN. | 

London, Published Aué. 1, 1831, by Harding &* Lepard, Pall Mall East. 

T. Q. L.: to 1.; in black dress, adorned with lace and strings of pearls; 
fan in r. hand. Table to 1.; with crown and orb. 

Stipple engr.: 4% x 3%. PI. to Portraits and Memoirs of the most illustrious person- 
ages of British History, by Edmund Lodge, 3rd éd., no. XXXII (London : 1831). 
There is a copy of this portrait, from an engraving by J. A. Dean, 1826, in The 
Genesis of the United States, by Alexander Brown, vol. II (Boston and New York: 
1890). 

Gerrit, or Gerard, van Honthorst (1590-1656), born at Utrecht, studied art in his 
native country and in Italy. He returned to Utrecht in 1622, and in the school which 
he opened is said to have had the Queen of Bohemia and her children as pupils. 
In l628 he came to England, and remained for some time, decorating the palace of 
Whitehall and painting portraits. 



126 
SIR HARRY VANE 

May 1613 — 14 June 1662 

Sir Henry, commonly known as Sir Harry, Vane was the son of Sir 
Henry Vane the elder, secretary of state and afterwards a supporter 
of the parliament. Sir Harry Vane resided in Massachusetts from 
1635 to 1637, and was governor for one year. He became one of the 
leaders of parliament in the civil war, was a commissioner of planta- 
tions in 1643, and in 1652 was a member of the committee appointed to 
enquire into the conduct of Sir David Kirke in Newfoundland. After 
the restoration of Charles H he was put to death. 

566 SIR HENRY VANE | From the portrait by William Dobson in the 
National Portrait Gallery] Face p. 124 

Nearly H. L.: to r. 

Half-tone print : 6^ x 5}^. In the collection of Historical Porlraits chosen by 
Emery Walker and published by the Clarendon Press, vol. II (1911). 

William Dobson (1610-1646), a native of London, was the first oil painter of note 
who was of purely English origin. He was an apprentice to Robert Peake, and 
afterwards attracted the attention of Van Dyck, who introduced him at court. 
After Van Dyck's death he was appointed serjeant-painter to the king, and obtained 
fame as a portrait painter. 

567 Sir Harry Vane, Governor of the Province of Massachusetts. | From 
the engraving by Houbraken. 

Bust : to r. 

Half-tone print from line engr.: oval, S x 3^. PI. to The History of North America, 
edited by Guy Carleton Lee, vol. V (Philadelphia : [1904] ). 

Houbraken's engraving was published in Birch's Heads of Illustrious Persons of 
Great Britain (London: 1743-52). It was based on the painting by Peter Lely, 
formerly the property of the Earl of Oxford. 



BLAISE PASCAL 

19 June 1623— 19 August 1662 

Blaise Pascal, a native of Clermont, is famous as a mathematician and a 
philosopher. He was an adherent of Jansenism, and his Lettres 
Provinciales, issued in 1656 and 1657 defending the ideas of his 
party and attacking the Jesuits, were the chief literary contribution 
from the Jansenist side to a controversy which had some influence 
on the early religious history of Canada. 

568 HIST. DE FRANCE. | PASCAL. | Edelimk del'. Landon direxi 

Nearly H. L.: to r. 

Outline engr. : 2% x 2; with border, 3% x 2}4- PI- to Galerie historique des hommes 
les plus célèbres, by C. P. Landon, vol. VIII (Paris : 1806). 

Gérard Edelinck (1640-1707), one of the best engravers of the seventeenth century, 
was born at Antwerp but resided from 1665 at Paris. 




Guillaume (Jouillard 

Photograph from miniature 

No. 571 



127 

569 Engraved by H. Meyer. | PASCAL. | From the Original Picturc 
by Philippe de Champagne. | in the possession of M. Lenoir 
at Paris. \ Under the Superintendance of the Society for the 
Diffusion of Useful Knowledge. | London, Published by Charles Knight, Pall 
Mall East. 

The same, or a similar, portrait. 

Stipple engr.: 5% s. ^14. PI. to Gallery of Portraits, vol. II (London : 1833). 

"Henry Meyer (1782-1847), a native of London, was an engraver celebrated for his 
portraits. He was a nephew of Hoppner and a pupil of Bartolozzi. 

570 Maurin \ Lith. de Delpech, à Paris | B. PASCAL. 

Similar portrait. 

Lith.: about 9 X 9. PI. to Iconographie Française, by Madame Delpech, vol. I 

(Paris : 1840). 

GUILLAUME COUILLARD 

1591 ? — c. 2 March 1663 

Guillaume Couillard arrived in Canada in 1613, and in 1621 married 
Marie Guillemette, daughter of Louis Hébert. He was the first, after 
his father-in-law, to cultivate the soil of Canada as a means of 
livelihood. It is said that he received letters of noblesse in 1654: 
they were certainly granted, or renewed, to his sons in 1668. He 
was buried at Quebec, March 4, 1663. 

571 No title. 

Bust : to 1. 

Photo., coloured : 9}4 x TJ^. There is also a smaller coloured photo, of the same 
portrait. It is published in half-tone in La Premiere Famille française au Canada, 
by the Abbé Azarie Couillard-Després (Montreal : 1906). 

This photograph was obtained by the Public Archives from the Abbé Couillard- 
Després. It is from a medallion long in the possession of the family, and believed 
to be a contemporary portrait. 

572 Statue de Guillaume Couillard 
Statue. W. L. With plough. 

Half-tone print : 4 x 2}4. In text of Les Premiers Colons du Canada, by the Abbé 
Couillard-Després [1918]. 

This figure fîanks the pedestal of the statue of Louis Hébert at Quebec, unveiled 
September 3, 1918. 

DUBOIS D'AVAUGOUR 

? —July 1664 

Pierre Dubois, Baron d'Avaugour, an old soldier of forty years' exper- 
ience, arrived at Quebec on August 31, 1661, and succeeded Argenson 
as governor of New France on September 19. On July 23, 1663, he 
left Quebec on his return to France. He afterwards entered the 
service of the Emperor, and was killed fighting against the Turks, at 
the siege of Zrin, in Croatia. 



128 

573 Copyright, 1897, by Little, Brown, &" C. | Goupil b' C°. Paris. [On paper 

guard] Dubois d'AvaUgOUr. [In list of Illustrations] From an 

engraving by P. Aubry, in the Bibliothèque Nationale. 

Bust : to r. 

Photogravure from line engr.; on India paper, mounted : oval, 4^x3%. PI. to 
The Old Régime in Canada, by Francis Parkman, Champlain Edition, vol. I (Boston : 
1897). 

Peter Aubry (c. 1596-1668+) was a native of Oppenheim who worked as an engraver 
at Strassburg. 



PAUL LE JEUNE 

July 1591 — 7 August 1664 

Paul Le Jeune, born at Chalons-sur-Marne, entered the Jesuit order at 
Rouen in 1613 and held several important posts in France before coming 
to Canada in 1632. He was superior of the Canadian mission till 1639, 
and was the chief author of the Relations from 1632 to 1641. In 1649 
he returned to France, where he became procureur of foreign missions. 

574 [In frame] LE REVEREND PERE PAVL 

LE lEVNE DE LA COMPAGNIE 

DE lESVS [Under portrait] LE R P PAVL le lEVNE 

enflante d'vn 5^. zele pour la conuersion des Infideles-Sauuages de la 
Nouuelle France, fut le premier qui \ les suiuit dans les bois les 
fréquenta reconut leur humeur, et en aprit leur langue la réduisit en 
préceptes; il n'est pas croyable combien il souffrit de | froid, de chaud, de 
faim en ses courses dans les rigueurs de plusieurs hyuers et Estez parmy 
ces barbares qui le plus soutient estaient sur le point de l'asom \ mer, et 
dont il a êuité miraculeusement la fureur, ce son't les preuues de son 
ardeur pour l'augmentation de nostre Religion pour la gloire de Dieu; 



Il I passa dix-sept ans dans le Canada, d'où après auoir fait nombre de 
conuertions de ces Infidelles, il fut rapelé en l'Antienne France son 
pays I natal pour les affaires de cette Mission, et en être le Procureur, 
pour V Interest de laquelle il a agi auec soing continuel, jusqu'à ce qu'il 
rendit \ sa bien-heureuse Ame entre les mains de son Satmeur chargé de 
Merittes et consommé dans les trauaux spirituels le 7f d'Aoust 1664. 
âgé de 72 ans. \ R. Lochon faciebat et excudebat. Cum priuilegio Regis, 1665. 

H. L.: toi. 

Line engr. : oval, 10}^ x 85f ; with border, rect., 12J^ x 10^. There is a photo- 
gravure copy of this engraving in The Jesuits in North America, by Francis Parkman, 
Champlain Edition, vol. I (Boston : 1897). 

René Lochon (c. 1623-C.1674), a native of Boîssy, worked at Paris, where he 
engraved portraits and historical and religious subjects. 

575 H. M I [Facsimile of signature] Paul Le Jeune 
Same portrait. 

Print : about 2% x 2J^. PI. to Les Jésuites et la Nouvelle-France au XV Ile siècle, 
by Camille de Rochemonteix, vol. I (Paris : 1895). 

576 Paul Le Jeune, S. J. [in Hst of illustrations] Photo- 
engraving from oil painting by Donald Guthrie JVIcNab 




^Paul Le Jeune 

Line engraving hy R. Lochon 

No. 574 



129 

Similar portrait, modified. Nearly H. L.: to 1. 

Half-tone print : 6 x 3^. PI. to The Jesuit Relations and Allied Documents, edited 

by Reuben Gold Thwaites, vol. V (Cleveland : 1897). 

577 Photogravure, Annan, Glasgow. [On face of picture] Paul Le Jeune S.J 

1591-1664 J Boyes [On guard] PAUL LE JEUNE 

From the painting in the House of the Immaculate Conception, Montreal. 

Similar portrait. 

Photogravure : 6 x 4%. PI. to Canada and Its Provinces, edited by Adam Shortt 
and Arthur G. Doughty, Authors' Edition, vol. II (Toronto : 1913). There are 
half-tone copies of this picture in Old Huronia, by Arthur Edward Jones (Fifth 
Report of the Bureau of Archives for Ontario, by Alexander Fraser (Toronto : 
1909) ); and The Jesuit Missions, by Thomas Guthrie Marquis (Toronto : 1916). 

578 FROM THE PAINTING BY ROBERT HARRIS. P. R. C. A. | "PERE LE 
JEUNE IN THE FOREST." 

W. L.: to 1.; seated. 

Clippmg. Half-tone print : 3>| x 4?^. 

This picture represents Le Jeune during his sojourn with a band of Montagnais 
hunters in the winter of 1633-4. 



JOHN ENDECOTT 

C. 1588 — 15 March 1665 

John Endecott, said to have been born at Dorchester in Dorset, was a 
member of the Company of Massachusetts Bay, brought out the com- 
pany's first settlement in 1628, and was resident governor until the 
arrival of Winthrop in 1630. He was elected governor for 1644, 1649, 
1651-3, and 1655-65, and held various other important offices. In 
1644 he received La Tour on his second visit to Boston, and in 1650, 
as a private citizen, entertained Father Druilletes, the envoy from 
Canada to New England. 

579 [Facsimile of signature] Jo: Etldecott 

H. L.: to r.; r. hand holding glove. 

Woodcut : 4J^ x 35^. In text of The Memorial History of Boston, edited by Justin 
Winsor, vol. I (Boston : 1880). There is another copy in Narrative and Critical 
History of America, edited by Justin Winsor, vol. Ill (Boston and New York : 
[1884] ); and there are many other modern prints of the portrait. 

This print is from a portrait in oils in the possession of the Endicott family. It 
is said to have been painted in 1665. The portraits in the State House, Boston, 
and the collection of the Massachusetts Historical Society, were based on this 
original. 

580 [On guard] JOHN ENDECOTT \ Painting in the collection of the 
Massachusetts Historical Society, | Boston. 

Similar portrait. Nearly T. Q. L. 

Photogravure : 3^ x 3. One other on same plate. PI. to The Fathers of Nev> 
England, by Charles M. Andrews (The Chronicles of America, vol. VI), Abraham 
Lincoln Edition (New Haven, etc.: 1919). 

This copy was made by John Smibert in 1737. Smibert, or Smybert, (c. 1684- 
1751), born in Edinburgh, studied art in Sir James Thornhill's academy, and in 
Italy, and subsequently settled in Boston, Massachusetts. 



130 

581 Copyright 1903 by G. Barrle S- Sorts [On guard] JOHN ENDICOTT | 

Governor of Massachusetts. | From the original painting in the 
Massachusetts State | House, Boston. 

Similar portrait. H. L.: hand not shown. 

Photogravure, on India paper, mounted : 4% x 3%. PI. to The History of North 

America, edited by Guy Carleton Lee, vol. V (Philadelphia : [1904] ). 



ANNE OF AUSTRIA 
1602 — 20 January 1666 

Anne, daughter of Philip III of Spain, married Louis XIII of France 
December 25,1615. She was regent of Fran ce from 1 643 to 1 65 1 , when 
her son Louis XIV assumed the government. She took a great interest 
in the affairs of Canada, especially in the religious work. 

582 Swan Electric Engraving C? | AunC of Austrio, QueCtl of FronCC. \ 
From the painting by P. P. Rubens in the collection of Lily. Duchess of 
Marlborough. 

Nearly W. L.: to 1.; seated; with wide, open lace ruff. 

Photogravure : 5% x 4}4. PI. to The Anglo-Saxon Review, vol. I, June, 1899 

(London and New York : 1899). 

583 ZÎ" Belliard Nanteml pinx{ I Imp. Lith. de Delpech. \ ANNE 

D'AUTRICHE. | Tiré du Cabinet de Mf. le Cheo^!. Lenoir. 

Bust : to r. 

Lith.: about 9x8. PI. to Iconographie Française, by Madame Delpech, vol. I 
(Paris : 1840). 

584 JEAN PETITOT | | me Louvre \ ANNE OF AUSTRIA I 

AN ENAMEL 

Bust : to 1. 

Half-tone print : l}4 diam.; with border, rect., 2}4 x Ipi- _ There is on the same 
plate a representation of another jewelled mount, containing enamels of Anne of 
Austria and two of her sons. PI. to Bryan's Dictionary of Painters and Engravers, 
edited by George C. Williamson, vol. IV (London : 1915). 

Jean Petitot (1607-1691), enameler and miniature painter, was a native of Geneva. 
He worked in Italy, England and France, and in his last years again in Switzerland. 
He was patronized by Charles I of England and Louis XIV of France. 

585 HIST. DE FRANCE. | | ANNE D'AUTRICHE. I d' Egmont 

pinxi London direxi 

Nearly H. L.: to 1.; wearing diadem on back of head. 

Outline engr. : 25^ x 2; with border, 3^ x2}4. PI. to Galerie historique des hommse 

les plus célèbres, by C. P. Landon, vol. IV (Paris : 1805). 

Théodore Juste d'Egmont (1639-1672), a native of Paris, became one of the painters 
to the king of France. 

586 5. Harding del. Schencker Sculp | ANNE D'AUTRICHE. 

T. Q. L.: to r.; seated in arm-chair; r. hand holding kerchief, 1. hand 
holding cross suspended from neck. 
Clipping. Stipple engr.: 4% x 3^, 



131 

Sylvester Harding (1745-1809), born at Newcastle-under-Lyme, came to London 
and became a miniature painter and engraver of considerable reputation. His 
son, Samuel Harding, was an engraver. Nicolas Schencker, or Schenker, (c. 1760- 
1848), born at Paris of a family of Transylvanian origin, worked as an engraver at 
Geneva and at Paris. 

587 INCONNU. — Anne d'Autriche, Reine de France. \ 335 LL. MUSÉE 

DE VERSAILLES 

Nearly H. L.: to 1.; wearing diadem. 

Photo-process print : 4J4 x 3J^. 

588 ANNE OF AUSTRIA, QUEEN REGENT OF FRANCE. 

T. Q. L.: to r.; seated. 

Half-tone print : 5 x 4J<i. PI. to Pioneer Priests of North America, by Rev. T. J. 
Campbell, S. J. (New York : 1908). 

MONTAGUE BERTIE, EARL OF LINDSEY 

C. 1608 — 25 July 1666 

Montague Bertie, second Earl of Lindsey, was a prominent leader 
of the royalists during the civil war in England, and at the 
restoration of Charles II became a member of the privy council and 
lord high chamberlain. In 1660 he was one of a committee to whom 
the claims of the Kirkes against Canada were referred. 

589 Engraved by W. Finden. | MONTAGU BERTIE, EARL OF 
LINDSEY. I OB. 1666. j FROM THE ORIGINAL OF VANDYKE. 

IN THE COLLECTION OF i THE RIGHT HON^V^ BARONESS 

WILLOUGHBY OF ERESBY. | London, Published March 1. 1830. by Harding 
6* Lepard, Pall Mall East. 

T. Q. L.: to I.; r. hand on truncheon, 1. hand on hip. 

Stipple engr. : 4% x 3%. PI. to Portraits and Memoirs of the most illustrious per- 
sonages of British History, by Edmund Lodge, 3rd éd., no. XXII (London : 1830). 



THOMAS WRIOTHESLEY, EARL OE SOUTHAMPTON 

1607 — 16 May 1667 

Thomas Wriothesley, fourth Earl of Southampton, succeeded to the 
title in 1624, became one of the king's principal advisers during the 
civil war, and at the restoration in 1660 was appointed lord high trea- 
surer of England and a member of the council for foreign plantations. 
Colonial matters were frequently referred to him: as, in 1663, the peti- 
tion of Edmond Wyndham and Thomas Elliott to be permitted to work 
copper mines in Nova Scotia. 

590 Engraved by H. Robinson. | THOMAS WRIOTHESLEY, 

EARL OF SOUTHAMPTON. | OB. 1667 | from the 

ORIGINAL OF SIR PETER LELY, IN THE COLLECTION OF ( HIS 
GRACE THE DUKE OF BEDFORD. | London. Published Oct: 1829, 
by Harding b" Lepard, Pall Mall East. 



132 

Nearly W. L.: to 1.; seated; wearing mantle with large star; wand in 
1. hand. 

Stipple engr.: 45^ x 35^. PI. to Portraits and Memoirs of the most illustrious 
personages of British History, by Edmund Lodge, 3rd éd., no. XII (London : 1829). 



POPE ALEXANDER VII 

13 February 1599 — 22 May 1667 

Fabio Chigi, a native of Sienna, was created cardinal in 1652 and 
elected Pope April 7, 1655, succeeding Innocent X. In 1658 he desig- 
nated Mgr. de Laval as bishop of Petraea in partibus infidelium and 
vicar apostolic in Canada. 

591 Title missing. 

Bust : to r. 

Clipping. Line engr.: oval, 3^^ x 2J^. Trimmed. 

592 ALEXANDRE VII | 1599-1667 [On medal] ALEXAN. VII. 

PONT. MAX. A.V. I G M 

Medal, with bust, to r. 

Half-tone print : 2% diam. On pi. in Galerie canadienne de portraits historiques, by 

L. J. A. Derome (Montreal : 1921). 



NICOLAS SANSON 

C. 20 December 1600 — 7 July 1667 

Nicolas Sanson «was born at Abbeville of a family of Scottish descent. 
He early attracted attention as a cartographer, and gave lessons in 
geography to Louis XIII and to Louis XIV. He published a great 
number of maps and geographical works, including maps of Canada 
and of North America. He, and later two of his sons, held the position 
of geographer to the king. 

593 HIST. DE FRANCE. | | SANSON. | iV . . . pinxK Landon direxK 

Nearly H. L.: to 1. 

Outline engr. : 2'/i6x2>^; with border, 3% -x. 2%.. PI. to Galerie historique des 

hommes les plus célèbres, by C. P. Landon, vol. IX (Paris : 1807). 

CATHERINE DE SAINT AUGUSTIN 

3 May 1632 — 8 May 1668 

Catherine de Longpré, daughter of Jacques Simon, Sieur de Longpré, 
was born near Cherbourg, in Normandy. She entered a convent at 
Bayeux in 1644, and in 1648, immediately after her profession, she came 
to the Hôtel-Dieu, Quebec, where, as Catherine de Saint Augustin, 
she lived the remainder of her life. 



133 

594 F. T. Stuart. Boston. | La mère de Saint-Augustin. | Religieuse de 

l'Hôtel-Dieu de Québec, née le 3 mai 1632, décédée le 8 mai 1668. 

Nearly H. L.: to 1.; in religious garb; holding crucifix. 
Stipple and line engr.: about 4]4 x 3^. PI. to Histoire de l'Hôtel-Dieu de Québec, by 
the Abbé H. R. Casgrain (Quebec : 1878). There is another print of this portrait in 
Serviteurs et servantes de Dieu en Canada, by N. E. Dionne (Quebec : 1904). 



HENRIETTA MARIA 

25 November 1609 — 31 August 1669 

Henrietta Maria, youngest daughter of Henry IV of France and Marie 
de' Medici, was married to Charles I of England on May 11, 1625. 
Because of the dangers of the civil war she retired to France in 1644, 
where she remained till 1660. She also resided in France from 1665 
till her death. 

595 Engraved by H. T. Ryall. | HENRIETTA MARIA, QUEEN 

OF CHARLES THE FIRST. | OB. 1669. | from the 

ORIGINAL OF VANDYKE IN THE COLLECTION OF | THE RJ 
p^Qj^BLE -pHE EARL OF CLARENDON. | London. Published June 1. 
1830, by Harding &* Lepard Pall Mall East. 

More than T. Q. L.: to 1.; r. hand touching table, on which are crown 

and vase of roses; 1. hand holding skirt of dress. 

Stipple and line engr. : 5x3^. PI. to Portraits and Memoirs of the most illustrious 

personages of British History, by Edmund Lodge, 3rd. éd., no. XVIII (London : 

1830). 

596 PLATE IL | | Henrietta Maria, wife of Charles I. of 
England. | From an engraving by Peter de Jode (1570-1634); 
original painting by Vandyke (1599-1641). | History of All Nations, 
Vol. XIII. , page 34. 

T. Q. L.: to 1.; hands joined, holding rose; crown on stand to 1. 
Photo-process print : S% x 4J^. PI. to A History of All Nations, edited by J. H. 
Wright and others, vol. XIII (Philadelphia and New York : [1905] ). 

Pieter de Jode (1606-1674+), the son and pupil of Pieter de Jode the elder (1570- 
1634), was bornât Antwerp. He became an engraver of considerable skill, especially 
in portraiture. 

597 HENRIETTA MARIA | From the portrait by Sir Anthony Van 
Dyck belonging to the | Earl of Radnor at Longford Castle | Face p. 86 

Same picture. 

Half-tone print : 7 x 5}^. In the collection of Historical Portraits, chosen by Emery 

Walker and published by the Clarendon Press, vol. II (1911). 

598 Copyright 190t by G. Barrie &■ Son [On guard] ^tmittta MàXlà \ 

{OF FRANCE) | Wife of Charles I. After the Painting by Sir 
Anthony \ Van Dyck now in the Royal Gallery, Dresden. 

Nearly H. L.: slightly to 1. 

Photo-process print, coloured : 4)^ x 3M- PI- to Lives of the Queens of England, 

by Agnes Strickland, Imperial Edition, vol. X (Philadelphia : [1902] ). 

599 Lewis &» Simmons \ Queen Henrietta Maria, by Van Dyck 

H. L.: to r.; head in profile. 

Half-tone print : 7 x S. In Art and Archaeology, vol. VI, no. 5 (November, 1917). 



134 

At the time of publication of this print the original painting, formerly the property 
of the Earl of Denbigh, was in New York City. 

600 SIR GODFREY KNELLER || Hanfstàngl photo] [Munich CalUry I 
QUEEN HENRIETTA MARIA 

Nearly H. L.; to 1.; seated; roses in 1. hand.; crown on stand in 
1. background. 

Half-tone print : 6J^ x 4%. PI. to Bryan's Dictionary of Painters and Engravers, 
edited by George C. Williamson, vol. Ill (London : 1919). 

Gottfried, or Godfrey, Kneller (1646-1723), a native of Liibeck, studied art at 
Amsterdam and Rome, and in 1674 settled in London. He became famous as a 
portrait painter, was knighted in 1692, and created a baronet in 1715. 

601 HIST. D'ANGLETERRE. | | HENRIETTE DE FRANCE I 

Vander-Werff pinxK Landon direx^ , 

Nearly H. L.: to r. 

Outline engr. : 2% -x.!; with border, 3% x.2%. PI. to Galet-ie historique des hommes 
les plus célèbres, by C. P. Landon, vol. X (Paria : 1807). 

602 ZT Belliard \ Lith. de Delpech. \ M?^ HENRP DE 
FRANCE, I Reine d'Angleterre. [ Tiré du Musée royal de 
France. 

Nearly H. L.: slightly to r. 

Lith.: about 9 x 8J^. PI. to Iconographie Française, by Madame Delpech, vol. II 
(Paris : 1840). 

603 Title missing. 

T. Q. L.: to 1.; r. hand holding kerchief on table, on which is a 
crown; 1. hand holding skirt of dress, 
cupping. Woodcut : 63^ x 4yi. Trimmed. 

604 Title missing 

H. L.: to 1.; head in profile. 

Clipping. Half-tone print, in tint : Syi x 3H. Trimmed. 

POPE CLEMENT IX 

28 January 1600 — 9 December 1669 

Giulio Rospigliosi was born at Pistoja, became cardinal in 1657, and 
was|]elected Pope, in succession to Alexander VII, June 20, 1667. 

605 CARDINAL GIULIO ROSPIGLIOSI, AFTERWARDS POPE 
CLEMENT IX | carlo maratta, pinakothek, Munich 

Bust : toi.; wearing biretta. 

Half-tone print : 6^ x 5?^. PI. to The Catholic Encyclopedia, vol. IX (New York 

[1910] ). 

Carlo Maratta, or Maratti, (1625-1713), born at Camerino in the March of Ancona 
and educated at Rome, became prominent as painter, etcher and architect. 

606 Title missing. 

Nearly H. L.: to r.; r. hand raised in benediction. In laurel frame 

with coat of arms at bottom. 

Clipping. Line engr.: oval, 4yi x 3>i; with border, rect., 5Ji x 4J^. Trimmed. 



135 

607 CLEMENT IX | 1600-1669 [On medal] CLEMENS. IX. 

PONT. MAX. ANNO. I. 

Medal, with bust, to 1. 

Half-tone print : 2% diam. On pi. in Galerie canadienne de portraits historiques, 
by L. J. A. Derome (Montreal : 1921). 



GEORGE MONCK, DUKE OF ALBEMARLE 

6 December 1608 — 3 January 1670 

George Monck, or Monk, a native of Potheridge, near Torrington, in 
Devonshire, was a soldier of distinction who, having held the position 
of commander-in-chief in Scotland under Cromwell, became the chief 
agent in the restoration of Charles IL He was created Duke of 
Albemarle on July 7, 1660, and under Charles was captain-general of 
the land forces and one of the commanders of the fleet. He assisted 
in sending out the expedition for Hudson's Bay under the guidance of 
Chouart des Groseilliers and Radisson, in 1668, and was one of the 
original members of the Hudson's Bay Company. His interests 
passed to his son, Christopher, second Duke of Albemarle, who is 
named in the charter of incorporation. 

608 Engraved by W. T. Mote. | GEORGE MONK, DUKE OF ALBE- 
MARLE, K. G. 

T.Q.L.: to L; r. hand holding truncheon and resting on anchor, 

1. hand on hilt of sword. 

Clipping. Stipple engr. : 4Ji x 4. Trimmed. 

609 GEORGE MONCK, DUKE OF ALBEMARLE | From the portrait 
by Sir Peter Lely in the National Portrait Gallery | Face p. 152 

Same portrait. 

Half-tone print : 7 x 5J^. In the collection of Historical Portraits chosen by Emery 
Walker and published by the Clarendon Press, vol. II (1911). 

610 Benoist sculp. \ MoNCK Duke of Albemarle. 

Bust : to r.; in body armour. 

Clipping. Line engr.: oval, iyi x 2Ji; with border, 3H x 3>js. This is from 
Smollett's History of England (1757). 

611 HIST. D'ANGLETERRE. | | G. MONCK. | Vander-Werff pinxî 

Landon direx f 

Nearly H. L.: to r. 

Outline engr. : 2]^ x 2; with border, 3% x 2Ji. PI. to Galerie historique des hommes 
let plus célèbres, by G. P. Lanaon, vol. XI (Paris : 1807). 



THE MARQUIS DE TRACY 

1603 — 28 April 1670 

Alexandre de Prouville, Marquis de Tracy, was one of Turenne's 
ablest officers. In 1663 he was appointed lieutenant-general of all 



136 

the French dominions in America; after spending a year in the West 
Indies, he arrived at Quebec on June 30, 1665. He remained in 
Canada eighteen months, during which his most notable undertaking 
was an expedition against the Iroquois. He subsequently held 
military commands at Dunkirk and Bordeaux. 

612 [On face of picture] lo. Lenfant del. \ et sculp. I 1660. 
[Title wanting, as in several of Lenfant's pictures.] 

Nearly H.L.: tor.; in body armour, with scarf and lace collar. In 

frame, with coat of arms at bottom. 

Line engr.: oval, lOyi x 8; with border, rect., 14 x lOM- 

Jean Lenfant (c. 1615-1674), painter and engraver, was born at Abbeville and died 
in Paris. He was a pupil of Claude Mellan. 

ANNE, DUCHESS OF YORK 

12 March 1637 — 31 March 1671 

Anne Hyde, daughter of Edward Hyde, afterwards Earl of Clarendon, 
was married to James, Duke of York, afterwards King James II, on 
September 3, 1660. She was the mother of Queen IVIary II and Queen 
Anne. 

613 ANNE HYDE, DUCHESS OF YORK | From the portrait by Sir 
Peter Lely in the | National Portrait Gallery 

H. L.: to r.; 1. hand to head. In oval frame. 

Half-tone print : 3^x2%. Three others on same plate. In the collection of 
Historical Portraits chosen by Emery Walker and published by the Clarendon Press, 
vol. II (1911). 



MADAIME DE LA PELTRIE 

1603 — 18 November 1671 

Marie IVIadeleine de Chauvigny, daughter of the seigneur de Vaubou- 
gon, was born at Alençon. In 1620 she married Charles de Gruel, 
seigneur de La Peltrie, who died in 1625. The reading of the Jesuit 
Relation of 1635 determined her to devote her life and fortune to the 
education of Indian girls in New France. She came to Quebec in 
1639, and spent the remainder of her life in Canada, chiefly in the 
Ursuline Convent at Quebec, which she founded. 

614 No title. 

H. L.: slightly to r.; in religious garb; hands clasped. 

Line engr.: about 23/^ x 2. PI. to Les Ursulines de Quebec, depuis leur établissement 

jusqu'à nos jours, vol. I (Quebec : 1863). 

615 M— de la PELTERIE 

Similrr portrait. Bust : to 1. 

Lith.: about 1?^ x IJ^. Five others on same plate. PI. to Nos gloires nationales ou 
histoire des principales familles du Canada [by the Abbé Francois Daniel], vol. I 
(Montreal : 1867). 




T3he S^Warquis de 15racy 

Line engraving bv /. Lenfant 
Np. 612 



137 

616 MME. DE LA PELTRIE. 

Similar portrait. H. L.: to r. 

Woodcut : about 5}4 x 4J^. PI. to Histoire des Canadiens-Français, by Benjamin 
Suite, vol. I (Montreal: 1882). 

617 Copyright, 1897, by Little, Brawn, &• C? Goupil àf C° Paris. [On guard] 
Madame de la Peltrie. [In list of Illustrations] From the painting hy 
C. Huot in the Convent des Ursulines, Quebec. 

Same portrait. In oval frame. 

Photogravure, on India paper, mounted : oval, 4^^ x 3»/i6; with border, rect. PI. to 
The Jesuits in North America, by Francis Parkman, Champlain Edition, vol. I 
(Boston : 1897). There are many other recent prints of this picture : e.g.. in The 
Jesuit Relations and Allied Documents, edited by Reuben Gold Thvvaites, vol. XVI 
(Cleveland : 1898), and in The Jesuit Missionaries, by Thomas Guthrie Marquis 
(Toronto : 1916). 

MARIE DE L'INCARNATION 

28 October 1599 — 30 April 1672 

Marie Guyard was the daughter of a silk merchant, or manufacturer, 
of Tours, and in 1617 became the wife of Claude Martin, also a silk 
manufacturer of the same city. He died in 1619, and in 1632 she 
entered the Ursuline Convent, being professed in 1633 as Marie de 
L'Incarnation. She was in charge of the first Ursulines sent to Quebec, 
in 1639, and remained superior of the convent there until her death. 
She was beatified in 1877. 

618 La Venerable Mere Marie de V Incarnation Première Supérieure 
des Vrsulines de la ^^ \ Nouuelle France; qui après auoir passé 
trente deux Ans dans le Siècle, en des penitences extra- \ ordinaires; 
huict ans au Monastère des Vrsulines de Tours, dans la pratique 
d'vne très exacte \ Obseruance; et trente trois ans en Canada, dans vn 
Zèle incroyable pour la Conuersion des | Saunages, et decedée a 
Quebec en odeur de Sainteté le dernier d'Auril 1672, âgée de 72 Ans,\ 
Six mois, 13 lours. I. Edelinck fecit. [P. Mariette ex - ] 

T. Q. L.: slightly to r.; in religious garb; hands crossed, holding 
cross. 

Line engr.: 7% x 6J4. Margins trimmed. There is a photograph of this engraving 
in Histoire de la mère Marie de L' Incarnation première supérieure des Ursulines de la 
Nouvelle France, by the Abbé H. R. Casgrain (Quebec : 1864), and a photogravure 
copy in The Jesuits in North .America, by Francis Parkman, Champlain Edition, vol. I 
(Boston : 1897). There are also many other modem reproductions. 

Jan Edelinck (c. 1643-1680), brother of Gerard, was born at Antwerp, but came to 
Paris in 1665, and became engraver to the king. The Mariette family was famous 
in the literary and art world of Paris. Pierre (1) Mariette ( P-1657) was a picture 
dealer, whose son Pierre (2) Mariette (1634-1716) was, doubtless, the publisher of 
this print. Among the children of Pierre (2) were Pierre Joseph ( ?-1729), engraver 
and print seller; Marie Madeleine, who married the painter and engraver Jean 
Baptiste Corneille; Jean (1660-1742), who became a pupil of Corneille and an 
engraver of merit, as well as one of the leading book and print dealers of Paris; 
and Denis (1666-1741), also a book dealer. Jean's son, Pierre Jean (1694-1774), 
continued the business of engraver, dealer and publisher, but is more famous as 
a writer on art and as a collector of prints and drawings. His collection, which 
was sold in 1775, was one of the most important ever made by private 
individuals. 



138 

619 No title. 

Same picture. 

Lineengr.: about 2>ixl^. PI. to Les Ursulines de Québec, depuis leur établisse- 
ment jusqu'à nos jours, vol. I (Quebec : 1863). 

620 LA VÉN. MÈRE M. de l'iNCARNATION. 
Same portrait. Bust only. 

Lith.: about 1}^ X IJ^. Five others on same plate. PI. to Nos gloires nationales 
ou histoire des principales familles du Canada [by the Abbé François Daniel], vol. I 
(Montréal : 1867). 

621 Ha Vénérable iîlère iïïarie be rSncarnation, | Fondatrice 

et Première Supérieure des Ursulines de Québec, | décédée en odeur de 

Sainteté, le 30 Avril 1672. 

Same portrait, reversed. Surroundings modified. 

Woodcut : 4^ X 3M. PI- to Vie de la révérende mire Marie de V Incarnation Ursuline, 
by the Abbé P. F. Richaudeau (Tournai : 1873). 

622 MÈRE MARIE, DE L'INCARNATION. 

Same portrait, modified. H. L.: to r. 

Woodcut : 5}^ X 4. PI. to Histoire des Canadiens-Français, by Benjamin Suite, vol. I 

(Montreal : 1882). 

623 [On frame] ^ETAT. SVM XXXX, [On tablet under portrait] 
LA MERE MARIE DE L'INCARNATION \ Premiere Supérieure 
des Ursulines de la nouvelle \ france decedée a Quebec en odeur de 
Sainteté le \ dernier jour d'avril 1672, âgée de 72 ans 6 mois 13 j^. 

Nearly H. L.: slightly to 1.; in religious garb. 

Half-tone print from line engr.: oval, 3^ x 2Ji; with border, rect., 6Ji x 3»/i6. PI. to 
Old France in the New World, by James Douglas, 2nd ed. (Cleveland and London : 
1906). 

624 VENERABLE MOTHER MARY OF THE INCARNATION,] 
Foundress and first Superior of the Ursuline Convent of Quebec 
(1639). I (From a painting by BOTTONI, Rome, 1878.) 

T. Q. L.: to r.; seated, in attitude of devotion; in religious garb, with 
cross resting on r. arm. 

Clipping. Half-tone print : 5}4 x 3%. There are other prints of this portrait in 
The Htstory of North America, edited by Guy Carleton Lee, University Edition, 
vol XI (Philadelphia : (1905) ), where it is erroneously said to be from ihe engraving 
by Edelinck; in Montreal 1535-1914, by William Henry Atherton, vol. I (Montreal, 
etc.: 1914); and elsewhere. 

MOLIÈRE 

January 1622 — 17 February 1673 

Jean Baptiste Poquelin, who adopted the stage-name of Molière, 
was the greatest of French dramatists. In 1694 the governor Fron- 
tenac proposed to have IVIoHère's comedy Tartufe presented in Quebec, 
but bishop Saint-Vallier offered such opposition that the proposal 
was abandoned. 

625 Fig. 57. — Molière. After a copper-plate engraving by Jacques Firmin 
Beauvarlet (1731 - | 1797); original painting by Sébastien Bourdon 
(1616-1671). 



139 

T. Q. L.: to 1.; seated at table, with pen, ink, etc. 

Print : 5}4, x 4Î^. In A History of All Nations, by J. H. Wright and others, 
vol. XIII (Philadelphia and New York : [1905] ). 

Sébastien Bourdon (1616-1671), famous French painter and engraver, was born at 
MontpeUier. He received part of his early training in Italy, and in later life spent 
a short time at the court of Queen Christina of Sweden. His more important works 
were historical scenes and tableaux de genre, but he also painted a number of por- 
traits. Jacques Firmin Beauvarlet (1731-1797), a native of Abbeville, went to Paris 
when very young and there became celebrated as an engraver. The portrait of 
Molière is one of his most notable plates. 

626 HIST. DE FRANCE. | | MOLIÈRE. | Mignard pinx'. Landon 
direx { 

Nearly H. L.: to r.; looking to 1. 

Outline engr. : 2H x 2; with border, 3% x 2%. PI. to Galerie historique des hommes 
les plus célèbres, by C. P. Landon, vol. VIII (Paris : 1806). 

627 ZT Belliard ^«'■- àc Delpech. Mignard pinx. \ MOLIÈRE. | 
L'Original appartient à M^. Bossange. 

Bust : to 1. 

Lith.: about 9 J.^ X 9. PI. to Iconographie Française, by Madame Delpech, vol. II 
(Paris : 1840). 

628 Engraved by J. Posselwhite. [ MOLIERE. | From the Original 

Picture, of Lebrun s School, | in the collection of the Musée 
Royale, Paris. \ Under the Superintendance of the Society for 

the Diffusion of Useful Knowledge. | London, Published by Charles Knight, 
Pall Mall East. 

Nearly H. L.: to r.; looking to 1. 

Stipple engr.: ij^xS^. PI. to The Gallery of Portraits, vol. I (London : 1833). 

629 MOLIERE 

Bust : to r.; looking to I. 

Clipping. Line engr.: oval, 3}i x 25^; with border, rect., 5H x 3^. Trimmed. 

JEANNE MANGE 
1606 — 18 June 1673 

Jeanne Mance was the daughter of Pierre Mance, procureur du roi 
at Nogent-le-Roi in Champagne. She became a member of the Society 
of Notre-Dame de Montréal, came to Canada in 1641, and proceeded 
to Montreal with the first detachment of colonists in 1642. At 
Montreal she became the founder of the Hôtel-Dieu. 

630 MELLE JEANNE MANCE. | Fondatrice des Hospitaliires de Montréal. 

Bust : to r.; with white cap and scarf. 

Woodcut : aboutSJ^x4. PI. to Histoire des Canadiens- Français, by Benjamin 
Suite, vol. I (Montreal : 1882). 

This print was derived from the figure representing Mile. Mance in an illustration 
to the Abbé Faillon's Mémoires particuliers pour servir à l'histoire de l'église de l'Amé- 
rique du Nord — Tome III — 1^^ Partie — Vie de Mademoiselle Mance (Paris: 1854). 
The illustration shows the departure of the Hospital Sisters from France for Montreal 
in 1659, and is wholly imaginary. 



140 

631 JEANNE MANCE | Fondatrice des Sœurs Hospitalières de | Saint- 
Joseph. 

Same portrait. 

Woodcut : about 4H x 33^. PL to Vie de Mademoiselle Mance et commencements de 
la colonie de Montréal, by Adrien Leblond (Montreal : 1883). 

632 JEANNE MANCE 1 FOUNDRESS OF THE HOTEL DIEU DE MONTREAL. 

Similar portrait. H. L.: arms folded. 

Half-tone print : 4 x 3. PI. to The Life and Times of Margaret Bourgeoys, by 
Margaret Mary Drummond (Boston : [1907] ). 

633 M^L^^ ManCE. 

Bust : to 1. 

Lith.: about IM x IM- Five others on same plate. PI. to Nos gloires nationales ou 
histoire des principales familles du Canada [by the Abbé François Daniel], vol. I 
(Montreal : 1867). 

634 [Signed] Notman & Son - Copy 

Nearly H. L.: to 1. 

Photo.: 25J^ X 203^. There are copies of this picture in The Jesuit Missions, by 

Thomas Guthrie Marquis (Toronto : 1916), and elsewhere. 

The original is a crayon drawing in the Hôtel-Dieu, IVIontreal, executed about 1897 
by Sister Alexandrine Paré (1840-1906), a native of the parish of St. Bruno, province 
of Quebec, and a member of the order of Soeurs Hospitalières de St. Joseph. 

635 Statue de l'angle Sud-Ouest | Jeanne Mance pansant un sauvage blessé 

Statue. W. L.: seated, with Indian child. 

Half-tone print : 4 x 3. PI. to Recit-Souvenir de l'inauguration du Monument 

Maisonneuve à Montréal le 1^^ Juillet 1895. 

One of the bronze castings at the corners of the Maisonneuve monument, by Hébert, 
in the Place d'Armes, Montreal. 

636 JEANNE MANCE. | Bronze Statue, by Hébert, in the Court Yard 
of Hôtel Dieu. 

Model for statue. W. L.: supporting sick or wounded settler. 
Half-tone print : 5}4 x 3%. PI. to The Canadian Antiquarian and Numismatic 
Journal, 3rd series, vol. IX, no. 1, January, 1912. There is another copy in Montreal 
1535-1914, by William Henry Atherton, vol. I (Montreal, etc.: 1914). 

637 LA STATUE DE JEANNE MANCE ] parterre de L'HÔTEL- 

DIEU, À MONTRÉAL 

Same statue, with pedestal. 

Half-tone print : 6^4, x iyi. PI. to Les Monuments commémoratifs de la province de 

Québec, by Pierre Georges Roy, vol. I (Quebec : 1923). 

This statue was unveiled September 1, 1909, at the celebration of the two hundred 
and fiftieth anniversary of the arrival of the first Hospital Sisters of St. Joseph at 
Montreal. 

THE DUCHESSE D'AIGUILLON 

1604 — 17 April 1675 

Marie Madeleine de Wignerod, or Vignerot, was the daughter of 
René de Wignerod, Marquis du Pont de Courlai, and of Françoise 



141 

Duplessis, sister of Cardinal Richelieu. In 1620 she married Antoine 
de Beauvin de Roure, Marquis de Combalet, who was killed in 1622 
at the siege of Montpellier. She became lady of the bed-chamber 
to Marie de' Medici, and in 1638 Richelieu purchased for her the 
estate of Aiguillon, and had her created duchess. She devoted her 
energies and her wealth to charity, especially in Canada, where, be- 
sides assisting other enterprises, she founded and endowed the Hôtel- 
Dieu at Quebec. 

638 [In frame] TRES HAVLTE ET TRES PVISSANTE DAME 
DAME MARIE DE WIGNEROD DVCHESSE D'AIGVILLON. 
[Under portrait] On peut dire qu'Amour a graué ce Portrait, \ Voyant 
tant de douceurs dessus ce beati visage; \ Mais ne le croyés pas, car la 
vertu l'a faict, \ Et s'est peinte elle mesme en faisant cet ouurage. \ 
Moncornet ex P . de la Serre. 

Nearly T. Q. L.: to r.; r. hand holding fan, 1. a sprig; rural scene in 

r. background. 

Line engr. : oval, Syi x 3'%; with border, 5}^ x 4Ji. Margins trimmed. 

639 LA DUCHESSE D'AIGUILLON. 

Same portrait, reversed. Background omitted. 

Woodcut : oval, 5% x 4. PI. to Histoire des Canadiens-Français, by Benjamin Suite, 

vol. I (Montreal : 1882). 

640 [In tablet on frame] DUCHESSE D'AIGUILLON 

Portrait similar to that by Moncornet, but with variations in dress. 
Nearly H. L.: to r. In architectural frame, ornamented. 
Clipping. Line engr.: 2J-ix2^; with border: 5}^ x 3M- Trimmed. 

641 Copyright, 1897. by Little, Brown, &» C? I Goupil àf C° Parts. [On guard] 
Duchesse d'Aiguillon. [In list of Illustrations] From the painting in 
the Hôtel Dieu, Quebec. 

W. L.: seated; to 1.; r. hand on table, on side of which is coat of 
arms, legend, and date "1832". 

Photogravure on India paper, mounted : 5% x 39/i6. PI. to The Jesuits in North 
America, by Francis Parkman, Champlain Edition (Boston : 1897) vol. L 



JACQUES MARQUETTE 

1 June 1637 — 18 May 1675 

Jacques IVIarquette was born at Laon. On October 8, 1654, he entered 
the Society of Jesus at Nancy. In 1666 he came to Canada, and in 
1668 was sent to the mission of the Ottawas, on the tipper great lakes. 
In 1671 he founded the mission of St. Ignace, at Mackinac, and in 
1673, in company with Louis Joliet, he discovered the IVlississippi 
river. He died on the eastern shore of Lake IVIichigan while returning 
to Mackinac from the Illinois mission. 

642 Alleged Portrait of Jacques Marquette, S. J. | 

[Photo-engraving from oil portrait, by unknown artist, discovered in Montreal in 1897. 
See note 51, present volume.] 



142 

Bust, slightly to 1. 

Half-tone print : 4«/u x 3}^. PI. to The Jesuit Relations and Allied Documents, edited 
by Reuben Gold Thwaites, vol. LXXI (Cleveland : 1901). 

643 PHOTOGRAVURE &■ COLOR CO. N. Y. \ ALLEGED PORTRAIT OF JACQUES 

Marquette, S. J. 

Same portrait. 

Photogravure : 4}4 x 3}4. One other on same plate. PI. to Facsimile of Père 
Marquette's Illinois Prayer Book, with introduction by Col. J. L. Hubert 
Neilson, M.D. (Quebec : 1908). There are many other reproductions of this 
portrait : in the Ontario Historical Society Papers and Records, vol. Ill (Toronto : 
1901) and vol. IV (1902); Father Marquette, by Reuben Gold Thwaites (New York : 
1903) ; Father Marquette, by Rev. Samuel Hedges (New York : 1903) ; New England 
and New France) by James Douglas (Toronto and New York : 1913); and elsewhere. 
A representation of the back of the panel on which the portrait is painted is given in 
Ontario Historical Society Papers and Records, vol. III. 

According to information given by Donald Guthrie McNab, the wooden panel on 
which this portrait was painted was found by him among some rubbish on a cart 
in Little St. James Street, Montreal, in September, 1896. It was said to be from 
an old house then being demolished. In 1899 McNab cleaned the panel and dis- 
covered, under the varnish and dirt, the portrait. On the face of the panel, and along 
its upper edge, in indistinct red letters, was the legend "Marquette De 1 C. frerie 
d.. Is" and to the right "R Roos 1669." On the back of the panel, in deeply carved 
letters, apparently of later date, was the name "Pere Marquette"; under this in 
faint lettering "L. Chretien Mission", next several imperfect characters, and on a 
third line a long word beginning with "O. .n" and ending with "ais." See R. G. 
Thwaites, The Jesuit Relations, vol. LXXI, pp. 400-3; David Boyle, Ontario 
Historical Society Papers and Records, vol. Ill, p. 167. The painting was sold to a 
private collector and its present location is not known. Apparently it was never 
examined by a competent art critic: its authenticity cannot be regarded as certain. 
If painted in 1669, it must have been from memory or from an earlier sketch. 
No contemporary artist of the name "R. Roos" is known. All other portraits of 
Marquette are imaginary. 

644 Jacque Marquette I FAC-SIMILE OF THE SIGNATURE OF | FATHER 
MARQUETTE. 

Similar portrait. 

Half-tone print : 5}^ x 4. PI. to Twenty-Eighth Annual Archaelogical Report [of the 
Province of Ontario], by R. B. Orr (Toronto : 1916). 

This is from a copy of the alleged portrait of Marquette, made by McNab and pre- 
sented to the Ontario Historical Society. 

645 JACQUES MARQUETTE 

Bust : to 1.; wearing biretta. 

Half-tone print : 2J^ x 2Ji. Two others on same plate. PI. to Montreal 1535-1914, 
by William Henry Atherton, vol. I (Montreal, etc.: 1914). There is another print in 
Galerie canadienne de portraits historiques, by L. J. A. Derome (^Montreal : 1921). 

This portrait is based on that discovered by McNab. 

646 Jacques Marquette. | From the painting in the Château de Ramezay, 
Montreal. 

H. L.: eyes directed slightly to 1. 

Half-tone print : 5 x 4. PI. to The History of North America, edited by Guy Carle- 
ton Lee, University Edition, vol. XI (Philadelphia : [1905] ). There is another copy 
in The Jesuit Missions, by Thomas Guthrie Marquis (Toronto : 1916). 

647 From a photograph of a very fine painting owned by Mr. P. J. 
Murray of St. Ignace. _ The painting is | by Wm. W. Gibbs, and is a 
copy of an original painting said to be at Montreal, Canada. 

W. L.: to r.; head turned to 1.; standing in boat addressing Indians. 
Half-tone print : 2% x 3%. PI. to Father Marquette, by Rev. Samuel Hedges (New 
York: 1903). There are other reproductions. 



143 

648 Jacques Marquette, S. J. | [From photograph of statue by 

Sig. Gaetano Trentanove (of Florence, Italy), | which represents 
Wisconsin in Statuary Hall in the Capitol at Washington.] 

Statue (without pedestal). W. L. 

Half-tone print : 6 x 3Ji. PI. to The Jesuit Relations and Allied Documents, edited 
by Reuben Gold Thwaites, vol. LIX (Cleveland : 1900). There are other copiei of 
this picture. 

.Gaetano Trentanove (1 858-), the sculptor of the Marquette statue, is a native 
of- Florence, Italy. 

649 FATHER JAMES MARQUETTE, S. J. | Statue in United states 

Capitol, Washington, D.C. 

Same statue, with part of pedestal, in situ in the Capitol. 

Half-tone print : 5J^ x 3}4- P'- to The Tercentenary History of Canada, by Frank 
Basil Tracy, vol. I (New York, Toronto : [1908] ). 

650 "WISCONSIN'S TRIBUTE" — TRENTANOVE'S STATUE I OF PÊRE 
MARQUETTE. 

Same view of statue, but showing whole of pedestal. 
Clipping. Half-tone print : 5Ji x 2. 

651 LA STATUE DU PÈRE JACQUES MARQUETTE | FACADE 

DU PALAIS LÉGISLATIF. Â QUÉBEC 

Statue, w. L.: 1. arm extended. 

Half-tone print : 6H x 4. PI. to Les Monuments commimoratifs de la province de 
Québec, by Pierre Georges Roy, vol. I (Quebec : 1923). 

This statue, the work of Alfred Laliberté, was placed in the façade of the Palais 
Législatif in 1916. 



THE VICOMTE DE TURENNE 

li September 1611 — 27 July 1675 

Henri de La Tour d'Auvergne, Vicomte de Turenne, marshal of France, 
was the son of Henri, Due de Bouillon and sovereign prince of Sedan, 
and of Elizabeth of Nassau, daughter of William of Orange. He be- 
came one of the foremost military leaders of Europe. He had no 
direct association with Canadian history, but Tracy and the Sul- 
pician DoUier de Casson had served under him, and it was he who 
first gave marked recognition to the ability of Frontenac by selecting 
him, in 1669, for the defense of Candia against the Turks. 

652 HIST. DE FRANCE. | TURENNE. | Ph. de Champagne pinxf 
London direx. 

Nearly H. L.: to 1.; with lace collar, sash, and body armour. 

Outline engr. : 2'A6 x 2; with border, 3^ x 2}4- PI- to Galerie historique des hommes 
les plus célèbres, by C. P. Landon, vol. IX (Paris : 1807). 

653 Engraved by W. Hoii. | MARSHAL TURENNE. J From the 
original Picture by Latoure, | in the collection oj the Musée 
Royale, Paris. \ Under the Superintendance of the Society for the 

Diffusion of Useful Knowledge.] London, Published -by Charles Knight, Pall 
Mall East. 



144 

Nearly H. L.: to r.; eyes directed slightly to 1.; with lace collar and 
body armour. 

Stipple engr.: 5x4. PI. to The Gallery of Portraits, vol. I (London : 1833). 

654 Nanteuil pinx^ \ Maurin \ i uih. de Delpech. \ TURENNE. | 
Tiré du Musée Royal de France. 

Nearly H. L.: to 1.; eyes directed to r.; with lace collar, sash, and 
body armour. 

Lith.: about 10 x 8J^. PI. to Iconographie Française, by Madame Delpech, vol. I 
(Paris : 1840). 

655 Title missing. 

Same portrait. 

Clipping. Stipple engr.: 3 x 2%. Margins trimmed. 

656 Henricus de la Tour dAvvergne, Vice-Comes \ de 
Turenne Mareschalus Franciae. 

Fig. 79. — Marshal Turenne. Reduced facsimile of a contemporary 
anonymous engraving. 

Bust : to 1. 

Print : oval, 4J< x 3?^; with border, rect., S x A]4- In text of A History of All 
Nations, by J. H. Wright and others, vol. XII (Philadelphia and New York : [1905] ). 

657 [On panel under portrait] ^tltCUltC. 

Bust : to 1., eyes to front; in lace collar, sash and body armour. In 

architectural frame. 

Clipping. Line engr: oval, 2J^ x 2; with border, rect., 4J^ x 3}4. Trimmed. 



CECIL CALVERT, LORD BALTIMORE 

February 1606 — 30 November 1675 

Cecil Calvert, second Baron Baltimore, succeeded to the title on his 
father's death in 1632. He became the founder of the colony of 
Maryland. In 1660 he obtained the restoration of his father's claims 
in Newfoundland, which in 1637 had been granted to Sir David Kirke 
and others. 

658 THE SECOND LORD BALTIMORE [Title on original] Abra : 

Biotiing sculp I Effigies Illustrissimi Dnï Caecilii Calvert, \ 
Baronis BALTEMORE de Baltemore in Regno \ Hiherniae 
Ahsoluti Dm et Proprietarii \ Provinciarum Terrx-Marix 
et Avalonix in \ America etc^ [On face of picture] anno 

Dni 1657 \ Mtatis 51 

T. Q. L.: to 1.; 1. hand on table. Coat of arms in title margin. 
Clipping. Half-tone print from line engr.: 4>i (with title margin 5) x 3H- There is 
another print in Narrative and Critical History of A merica, edited by Justin Winsor, 
vol. Ill (Boston and New York : [1884] ), and a photogravure copy in Pioneers of the 
Old South, by Mary Johnston (New Haven, etc.: 1918); and there are other modem 
copies. 

Abraham Blooteling (1640 ?-1690), a native of Amsterdam, became famous both for 
engravings in line and for mezzotints. 



145 

POPE CLEMENT X 

13 July 1590 — 22 July 1676 

Emilio Altieri, a native of Rome, was created cardinal in 1669 and 
elected Pope, April 29, 1670, in succession to Clement IX. It was he 
who, on October 1, 1674, erected the bishopric of Quebec and appoint- 
ed Laval first bishop. 

659 CLEMENT X | 1590-1677 [On medal] CLEMENS . X . 

PONT . MAX . AN . I 

Medal bearing effigy. Bust : to 1. 

Half-tone print : 2»/is diam. In Galerie Canadienne de portraits historiques, by 

L. J. A. Derome (Montreal : 1921). 

THE SIEUR DE MAISONNEUVE 

February 1612 — 9 September 1676 

Paul de Chomedey, Sieur de Maisonneuve, founder and first governor 
of Montreal, was born at Neuville-sur- Vannes. He brought out the 
first colonists for Montreal in 1641, and began the settlement on 
May 18, 1642. He continued as governor until 1665, when he 
returned to France. 

660 PAUL CHOMEDEY DE MAISONNEUVE. | Premier Gouverneur 

de Montréal. 

Bust : to r.; in fur-trimmed coat. 

Woodcut : about S x iyi. PI. to Histoire des Canadiens-Français , by Benjamin 
Suite, vol. I (Montreal : 1882). This portrait has been reproduced many times. 

This seems to be the earliest portrait of Maisonneuve, but what its source was is not 
certainly known. It is believed to have been drawn after a print discovered by 
either Mr. Peter Murphy, or Senator Edward Murphy, of Montreal. It should be 
noted that Mr. Suite was not responsible for the selection of the illustrations to his 
Histoire des Canadiens- Français. 

661 [Facsimile of signature] Paul de Chomedey. I De maisonneuve \ 

FONDATEUR DE MONTRÉAL 1642 

Same portrait. 

Line engr.: about IJ^ x IJ^. PI. to Histoire de la vie de M. Paul de Chomedey sieur 

de Maisonneuve, by P. Rousseau (Montreal : [1886] ). 

662 Enregistré selon la loi, par l'auteur, à Ottawa 1905 "AvJAv mJEj 

CHOMEDEY SIEUR DE MAISONNEUVE, 1 
FONDATEUR ET PREMIER GOUVERNEUR DE 
MONTREAL | 1640-1676. [Signed] Albert Ferland 

Bust : tor.; in fur-trimmed coat. 
Photo.: 13 X 10. 

This is the photograph of a painting based on the Suite picture. 

663 PAUL DE CHOMEDEY | Sieur de Maisonneuve 

W. L.: to 1.; seated at table. 

Half-tone print : 3x2H; with ornamental border, 4^x3^. In Serviteurs el 

servantes de Dieu en Canada, by N. E. Dionne (Quebec : 1904). 



146 

664 Copyright, 1897. by Little, Brown, &• C°. Goupil b" C°. Paris [On guard] 

Figure of Chomedey de Maisonneuve. [In list of Illustrations] 

From the Maisonneuve Monument by Philippe Hébert, in the Place d'Armes, 
Montreal. 

Statue. W. L.: r. hand holding flag-staff, 1. hand on hilt of sword. 
Part of pedestal shown. 

Collotype : 5H X 3>^. On India paper, mounted. PI. to The Old Régime in Canada, 
by Francis Parkman, Champlain Edition, vol. I (Boston : 1897). 

This monument, which is one of Hébert 's finest productions, was unveiled July 1, 1895. 

665 LA STATUE DE CHOMEDEY DE MAISONNEUVE | place 

D'ARMES, À MONTRÉAL 

Same statue : showing the entire monument. 

Half-tone print : 6}4 x 4. PI. to Les Monuments commémoratifs de la province de 
Québec, by Pierre Georges Roy, vol. I (Quebec : 1923). There are many other 
views of this monument. 



HENRIETTE MARIE DE BUADE FRONTENAC 

? — 26 October 1676 

Henriette Marie de Buade, third sister of the Comte de Frontenac, 
became the wife of his friend, Henri Louis Hébert, seigneur de Mont- 
mort, who was a patron of arts and letters and one of the founders of 
the French Academy. 

666 HENRICiEA MARIA DE BVADE | FRON- 
TENAC [Added in ink] femme de M^ henry de montmort 
Nearly H. L.: to r. 

Proof before complete lettering. Line engr.: oval, 10 x 75^; with'border, rect., 13J^x9H. 
There is a half-tone reproduction of another copy of this portrait in Frontenac et ses 
amis, by Ernest Myrand (Quebec : 1902), where the remainder of the lettering is 
given: Tibi Henrico Haberto de Montmor uxoris amantiss. effigiem D D C Mellan 1641. 
It appears to be derived from a reproduction in the Gazette des Beaux-Arts (Paris), 
September 1, 1888. 

JOHN LEVERETT 

1616 — 16 March 1679 

John Leverett was a native of Boston, England, who came to Massa- 
chusetts in 1633. Returning to England, he served through the 
civil war and acquired the confidence of Cromwell. In 1654 he organ- 
ised the forces which, under the command of Robert Sedgwick, 
captured the French forts in Acadia, and he was governor of Acadia, 
or Nova Scotia, from 1654 to 1656. From 1673 to 1678 he was 
governor of Massachusetts. He was knighted in 1676. 

667 MAJOR-GENERAL SIR JOHN LEVERETT. | Three limes elected commander of 

the Ancient and Honorable Artillery Company, in 1652, 1663, and 1670; | six years a 
member of the governor's council, and subsequently deputy-governor, and governor of the 
colony of \ Massachusetts. In 1686 he was knighted by Charles 11. 

Bust : to 1. 

Half-tone print : about 3% x 3)4,. PI. to Magazine of American History, vol. XXI, 
no. vi (June, 1889). 



147 

668 Sir John Leverett, Governor of Massachusetts. | From the original I 
painting in possession of the American Antiquarian Society, Worcester, \ 
Massachusetts. 

Same portrait. More than H. L. Coat of arms in upper r. hand 
corner. 

Half-tone print : 5M x 4. PI. to The History of North America, edited by Guy 
Carleton Lee, vol. V (Philadelphia : [1904] ). 

669 GOVERNOR JOHN LEVERETT. 

Bust : to 1. 

Clipping. Woodcut : about 3}^ x 3. There is another copy of this portrait in The 
Memorial History of Boston, edited by Justin Winsor, vol. I (Boston : 1880). 

A copy of a miniature portrait, the property of Richard M. Saltonstall, of Boston, is 
given in A History of the United States and Its People, by Elroy McKendree Avery 
vol. Ill (Cleveland : 1907). 



NICOLAS FOUQUET 

1615 — 23 March 1680 

Nicolas Fouquet, or Foucquet, afterwards Vicomte de Melum and 
de Vaux and Marquis de Belle-Isle, was a lawyer of Paris who attached 
himself to Mazarin and became in 1650 procureur -général to the 
parlement of Paris, and in 1653 superintendent of finances. He 
directed the maritime and colonial policy of France, and, through an 
intermediary, controlled the post of viceroy of America. He was 
arrested by Louis XIV in 1661, and, after a long trial, was imprisoned 
at Pignerol from 1665 until his death. 

670 HIST. DE FRANCE. | | FOUCQUET. | Nanteuil delK Landon dire^*. 

Bust : to 1.; eyes directed to r.; with skull-cap and broad linen collar. 
Outline engr. : 2%x2>^; with border, 3^x2%. PI. to Galerie historique des 
hommes les plus célèbres, by C. P. Landon, vol. VI (Paris : 1806). 

671 Nanteuil pinx'. | Imp. Lilh. de Delpech. 1 Mattrîn 1 

N'" FOUCQUET. 

Same portrait. Nearly H. L. 

Lith.: about 10 x 9. PI. to Iconographie Française, by Madame Delpech. vol. I 
(Paris : 1840). 

672 FOUQUET 

Similar portrait; reversed. 
Clipping. Woodcut : about 3}^ x 3)4. 

673 P. PRIEUR I I An enamel] [Collection of the Earl of Dartrey I 

PROBABLY NICOLAS FOUQUET, FINANCE MINISTER TO 
LOUIS XIV., 1658 

Nearly H. L.: to r.; eyes directed to 1.; with broad collar, sash, and 
body armour. In ornamental frame. 

Half-tone print : oval, about lYsxlYi; with frame and border, rect., 7x4?^. 
PI. to Bryan's Dictionary of Painters and Engravers, edited by George C. Williamson, 
vol. IV (London : 1915). 



148 

P. Prieur was an enamel portrait-painter of the seventeenth century whose work is 
highly esteemed but of whose personal history little is known. This portrait is 
believed to be of Fouquet, painted at Paris in 1658. 



PAUL RAGUENEAU 

18 March 1608 — 3 September 1680 

Paul Ragueneau, a native of Paris, entered the Society of Jesus 
August 21, 1626; arrived in Canada June 28, 1636; served in the Huron 
mission — except during the year 1640-41 — until its destruction in 
1649; and was superior of the Huron mission 1645-49, and of all New 
France 1650-1653. In 1657-58 he was in charge of the establish- 
ment among the Iroquois. He sailed for France, August 12, 1662, and 
thereafter was procurator in that country for the Canadian missions. 

674 PAUL RAGUENEAU, S. J. | Professeur du Grand Condé | à 
Bourges 

Bust : to r. 

Print : about 2^^ x 2J4. PI. to Les Jésuites et la Nouvelle-France au XV Ile siècle, 
by Camille de Rochemonteix, vol. II (Paris : 1896). 

675 Paul Ragueneau, S. J. [in list of illustrations] photo- 
engraving from oil portrait by Donald Guthrie McNab 

Nearly H. L.: to r. 

Half-tone print : 6 x 3^. PI. to Tke Jesuit Relations and Allied Documents, edited 

by Reuben Gold Thwaites, vol. XXXVIII (Cleveland : 1899). There is another 

copy in Pioneer Priests of North America, by the Rev. T. J. Campbell (New York : 

1908). 

676 Rev. Paul Ragueneau, S. J., Missionary to the Hurons. [On original 
picture] Paul Ragueneau S. J. 1608<1680 J Boyes 

Nearly H. L.: to r. 

Half-tone print : 4}i x 3. PI. to Old Huronia, by Arthur Edward Jones {Fifth 

Report of the Bureau of Archives for Ontario, by Alexander Fraser) (Toronto : 1909). 



PRINCE RUPERT 

17 December 1619 — 29 November 1682 

Rupert, Count Palatine of the Rhine and Duke of Bavaria, Duke of 
Cumberland and Earl of Holderness, was the third son of the Elector 
Palatine, Frederick V, and of Elizabeth, daughter of James I of 
England. In the civil war he became the most famous of the military 
leaders on the royalist side, and in the reign of Charles II a naval 
commander of distinction. In 1670 he was appointed a member of the 
council for trade and plantations, and from 1673 to 1679 was first lord 
of the admiralty. In 1667 he became the patron of the Canadian 
trader, Chouart des Groseilliers, and in 1668 helped to fît out the 
expedition which this man led to Hudson's Bay. On IVlay 2, 1670, 
Charles II issued to him, as first governor, and to his associates the 




Î^RINCE Î^UPERT 

Line engraving bv H. Snyers 
7^0. 679 



149 

charter incorporating "the Governor and Company of Adventurers 
of England trading into Hudson's Bay". 

677 Engraved by J. Cochran. | PRINCE RUPERT. | OB. 1682. | 
FROM THE ORIGINAL OF VANDYKE IN THE COLLECTION OF | 

THE RIGHT HON^^^ THE EARL OF CRAVEN. | London. 

Published Sept''. 1. 1831, by Harding àf Lepard, Pall Mall East. 

T. Q. L.: facing front; r. hand holding truncheon, 1. arm against 
table on which is helmet. 

Stipple engr.: 4%x3J^; with border, 4J^ x 3%. PI. to Portraits and Memoirs of 
the most illustrious personages of British History, by Edmund Lodge, 3rd éd., 
no. XXXIII (London: 1831). 

678 Vandyke px. I PRINCE RUPERT. 

Same portrait. Figure only. 

Clipping. Stipple engr.: octagonal, 3% x 2%. 

679 ILLVSTRISSIMVS PRINCEPS ROBBERTVS, COMES 
PALATINVS RHENI, EQVES | ORDINIS S'^^ 
GEORGII. HIPPARCHVS SV^ MAr.^^ MAGN^ 

BRIXANNIyE. EXC • Antonlus van Dyck pinxit. Henricus Snyers 

sculpsit. [ ] excudit Antuerpiœ. 

More than H. L.: slightly to 1.; 1. hand holding truncheon. 
Line engr.: 9}4 x 7>i. 

Hendrik Snayers, or Snyers, (c. 1612 — ?) was a native of Antwerp. This portrait 
of Prince Rupert is regarded as one of his best productions. 

680 XIII. WILLIAM FAITHORNE. | Portrait of Prince 

Rupert. [Title on original] Tkc Most IllustrîOVS Qud 

High Borne Prince Rupert, \ Prince Electour 
Palatine of y^ Righne, Second Sonne to \ 
Fredericl^e King of Bohemia, Generall of y^ 
Horse of his I Ma^^^^ Army, Knight of y^ 
Most Noble Order of the Garter, &c I 

Are to be soidd by Robt: Peake at his shopp neere Holborne Conduitt.\ 
Ant : V: Dyck Pinxit. 

Nearly H. L.: to I.; with lace collar and body armour. Column of 
masonry to r. In frame. 

Reproduction of line engr.: oval, i^ x 6^%; with border, rect., 9 (with title, 
llyls) X 75^. In Reproductions of Prints in the British Museum, New Series, Part IX 
(1900). 

681 PRINCE RUPERT | From the portrait by Sir Peter Leiy in the 
National Portrait Gallery | Face p. 154 

T. Q. L.: to 1.; looking to front; with robes and collar of the Garter, 
and George. 

Half-tone print : TJ^ x 5}^. In the collection of Historical Portraits chosen by 
Emery Walker and published by the Clarendon Press, vol. II (1911). 



150 

682 Photogravure, Annan, Glasgow. Emery, Walker, Ltd. London, Photo. 
[On guard] PRINCE RUPERT | From the painting by Sir P. Lely 

in the National Portrait Gallery. 

Same picture. 

Photogravure : 6 x 4}^. PI. to Canada and Its Provinces, edited by Adam Shortt 
and Arthur G. Doughty, Authors' Edition, vol. I (Toronto : 1913). 

683 PRINCE RUPERT, THE FIRST GOVERNOR OF THE COM- 
PANY. 

Same portrait. 

Colour half-tone print : VJjJ x 5J^. PI. to The Governor and Company of Adventurers 
of England Trading into Hudson's Bay during Two Hundred and Fifty Years 1670- 
1920, by Sir William Schooling (London : 1920). There is another colour half-tone 
copy in The 'Adventurers of England' on Hudson Bay, by Agnes C. Laut (Toronto : 
1914). 

684 Title missing. 

Same picture. 

Clipping. Sepia half-tone print : 5 x 3%. Margins trimmed. 

In Narrative and Critical History of America, edited by Justin Winsor, vol. VIII 
(Boston and New York : 1889), there is a copy of an engraving of this picture made 
by Samuel Freeman, as given in Eliot Warburton's Memoirs of Prince Rupert 
(London : 1849). The figure is reversed and the background altered. 



SIR HENEAGE FINCH, EARL OF NOTTINGHAM 

23 December 1621 — 18 December 1682 

Heneage Finch was a lawyer of ability and one of the most prominent 
members of the parliaments of Charles II. He became solicitor- 
general in 1660, attorney-general in 1670, lord keeper in 1673, and in 
1674 lord chancellor. In 1660 he was created a baronet, in 1670 a 
baron, and in 1681 Earl of Nottingham. In 1679 he was named 
first member of the Committee of Trade and Plantations, and he had 
many connections with American affairs. In 1661 he reported favor- 
ably on the claims of Lord Baltimore in Newfoundland. 

685 Engraved by S. Freeman. | HENEAGE FINCH, EARL OF 

NOTTINGHAM. | OB. 1682. | from the original of sir 

PETER LELY, IN THE COLLECTION OF | THE RIGHT HON^^^ 
THE EARL OF VERULAM. | London, Published July 1. 1829, by 
Harding &* Lepard, Pall Mall East. 

T. Q. L.: to 1.; seated; in chancellor's robes; r. hand holding scroll. 
Stipple engr.: 4^ x 3M- PI- to Portraits and Memoirs of the most illustrious 
personages of British History, by Edmond Lodge, 3rd éd., no. XIII (London : 1830). 

MARIE THÉRÈSE, QUEEN OF FRANCE 

10 September 1638 — 30 July 1683 

Marie Thérèse, daughter of Philip IV of Spain, was married to Louis 
XIV of France, June 9, 1660. For a short time in 1672 she was 
regent of France. 



151 

686 Z'i Belliard Luh. de Delpech \ M^^ THÉRÈSE D'AU- 
1 rvl\_-<Jxry. I Tire du Musée Royal de France. 

Nearly H. L.: to r. ; diadem on back of head. 

Lith.: about 9 J^ X 8. PI. to Iconographie Française, by Madame Delpech, vol. I 
(Paris : 1840). 



JEAN BAPTISTE COLBERT 

29 August 1619 — 6 September 1683 

Jean Baptiste Colbert served under Le Tellier, minister of war, and 
under Mazarin. After Mazarin's death he became the king's chief 
adviser. In 1665 he was appointed controller-general of finance, and 
in 1669 minister of marine, and he held other important posts. He 
gave special attention to finance, trade and commerce, the navy and 
the colonies, and during the period of his administration directly con- 
trolled French policy in America. 

687 Fig. 30. — Jean Baptiste Colbert. Reduced facsimile of an engraving 
by Jean Audran | (1667-1756). Original painting by Nicolas 
Largillière (1656-1746). [On original] N. LargilHère pinx. J. Audran seul 

H. L.: to 1.; in frame on pedestal, with coat of arms under portrait. 
Print after line engr.: oval, S x 4^; with border, rect., 6% x 4J<i. PI. to A History 
o/ /I /Z A'^a/ions, edited by J. H. Wright and others, vol. XIII (Philadelphia and New 
York : [1905] }. 

Nicolas de Largillière (1656 — 1746) was a native of Paris who is especially famous as 
a portrait painter. He resided for short periods in Antwerp and in England. Jean 
Audran (1667 — 1756), a native of Lyons, was one of a very famous family of French 
engravers. 

688 HIST. DE FRANCE. | | COLBERT. | Hyac Rigaud pinxK Landon 
direx\ 

Nearly H. L.: to 1.; with cross of St. Esprit. 

Outline engr. : 2^ x 2J^. PI. to Galerie historique des hommes les plus célèbres, 

by G. P. Landon, vol. V (Paris : 1805). 

Hyacinthe François Honorât Mathias Pierre-le-Martyr André Jean Rigaud-y-Ros 
(1659 — 1743) was born at Perpignan, and came to Paris in 1681. He became famous 
as a portrait painter. 

689 Engraved by w. Roll. \ COLBERT. | FroTTi the Original by 
p. Mignard, | in the Collection of the Institute, at Paris. \ 

Under the Superintendance of the Society for the Diffusion of Useful 
Knowledge. | London, Published by Charles Knight, Ludgate Street. 

Nearly H. L.: to 1.; with lace collar and cloak bearing cross of St. 
■ Esprit. 
Stipple engr.: 5x4. PI. to The Gallery of Portraits, vol. IV (London : 1835). 

690 P. MIGNARD, PiNxT W. HOLL ScT | JEAN BAPTISTE 
COLBERT. 



Same portrait. 

Clipping. Stipple and line engr.: 5x4. 



152 

691 COLBERT I Par F. de PoiUy 

Bust : to r. 

Half-tone print from line engr.: 4?^ x 3^. PI. to Un grand ministre de la marine 
Colbert, by Charles de La Roncière (Paris : [1919) ); also in Histoire de la marine 
française, by the same, vol. V (Paris : 1920). 

François de Poilly, the elder, (1622 or 1623 — 1693) was born in Abbeville and came to 
Paris in 1646. Afterwards he spent some time in Rome. In 1656 he returned to 
Paris and henceforth occupied a foremost position among the engravers of the time. 
In 1662 he was named engraver to the king. 

692 MaUrtn imp. Uth. de Delpech. \ COLBERT. 

Nearly H . L.: tor.; with wide embroidered collar and cloak bearing 

cross of St. Esprit. 

Lith.: about 10x9. PI. to Iconographie Française, by Madame Delpech, vol. I 
(Paris : 1840). 

693 [Inframe] ÏOANNES BAPTISTA COLBERT 
REGI AB INTIMIS CONSILIIS ET 
^RARIO PREFECT'. 

Bust : to r.; with linen and lace collar. 

Clipping. Line engr.: oval, 6% x 5?^; with frame, 8 x 6%. Trimmed. 

694 From an engraving in the Château de Ramezay. [On original : scroll 
under portrait] lean Baptiste COLBERT | Ministre et Secretaire 
d'Etat Surin-] tend^, et Ordonatciir gnal des Bâtiments \ Arts et 
Manufacture né a Paris en 1619 et \ y mourut en 1683 [Tablet on 
pedestal] La France est vne jmage juste j De ce temps des Romains dont 
on fait tant de cas: | Et si Louis en est l'Auguste \ Colbert en est le 
Mecetias 

Bust : to r. 

Print after line engr.: oval, 3^x2?^; with margin, rect., 4J-ix3Jiii. PL to The 
Fighting Governor, by Charles W. Colby (Toronto : 1915). 

695 JEAN-BAPTISTE COLBERT. 1 Le plus Grand Ministre de 
Louis XIV. 

Same portrait. 

Woodcut : about 5 J4 X 514!. PI. to Histoire des Canadiens-Français, by Benjamin 
Suite, vol. Ill (Montreal : 1882). 

696 COLBERT. 

Bust : to r. In oval frame of masonry, on pedestal. 

Clipping. Line engr.: oval, 3%x2j4; with border, rect., 5^x3%. Trimmed. 
There are reproductions of this portrait in Canada and Its Provinces, by Adam Shortt 
and Arthur G. Doughty, vol. XL (Toronto : 1913); The Great Intendant, by Thomas 
Chapais (Toronto : 1914) ; Crusaders of New France, by William Bennett Munro 
(New Haven, etc.: 1918); and elsewhere. 



697 COLBERT. 



Same portrait. Oval inset in rect. inset, with shelf and ornament 
below. 

Clipping. Line engr.: oval, 2^x2; with border, rect., 6J4x.4}4- Trimmed. 
There is a reproduction in Ontario Historical Society Papers and Records, vol. IV 
(Toronto : 1903). 



153 
PIERRE CORNEILLE 

6 June 1606 — 30 September 1684 

Pierre Corneille, French dramatist and poet, was a native of Rouen. 
Certain of his plays were probably the first presented in Canada: 
in 1651 Heraclius was acted at Quebec, and in 1652 The Cid. 

698 Fig. 76. — Pierre Corneille. Engraving by Droyer, from the painting 
by Charles LeBrun | (1619-1690). [Original title] PIERRI 
CORNEILLI I C. Le Brun pinx Droyer sculp. 

Nearly H. L.: to 1. In oval frame, with ornaments. 

Print after line engr.: oval, 3H x 2%\ with border, rect., 6x4. In .4 History of All 
Nations, edited by J. H. Wright and others, vol. XII (Philadelphia and New 
York : [1905]). 

Droyer was a French engraver who was working about 1775. 

699 Engraved by T. Wooinoih. | CORNEILLE. | FroTTi an Original 
Picture, by C. Lebrun \ in the possession of the Institizte of 
France. \ Under the Superintendance of the Society for the Diffusion 
of Useful Knowledge. | London, Published by Charles Knight. Pall Mall East. 

Same portrait. To r. 

Stipple engr.: 45^ x 3^4- PI- to The Gallery of Portraits, vol. I (London : 1833). 

700 Lith. de Delpech | Maurin \ F^^ CORNEILLE. | 
Tiré de l'Institut Royal de France. 

Same portrait. To 1. 

Lith.: about 9 X 91^. PI. to Iconographie Française, by Madame Delpech, voL II 
(Paris : 1840). 

701 HIST. DE FRANCE. | | P. CORNEILLE. | Masne del{ Laniofi 

direx{ 

Nearly H. L.: to r. 

Outline engr. : 2^ x 2; with border, 3% x 2^. PI. to Galerie historique des hommes 
les plus célèbres, by C. P. Landon, vol. V. (Paris : 1805). 

702 Ferdinand | P. CORNEILLE. 

Nearly H. L.: to r. 

Clipping. Line engr.: about 3 s 2}4. 



CHARLES LE MOYNE 

C 1 August 1626 — c. 1 February 1685 

Charles Le Moyne, founder of one of the most famous of Canadian 
families, was a native of Dieppe, the son of Pierre Le Moyne and of 
Judith Duchesne. He was baptised August 2, 1626. In 1641 he came 
to Quebec and in 1646 settled at Montreal. He distinguished himself 
greatly in the service of the colony, especially in the war with the 
Iroquois. In 1657 he obtained the first of several concessions which 
formed the seigniory- of Longueuil, and in 1673 a concession which 



154 

became the seigniory of Chateauguay. A lettre de noblesse creating 
him Sieur de Longueuil was issued in 1668. He died between January 
30 and February 6, 1685. 

703 CHARLES LE MOYNE | (By Philippe Hébert) 

Statue. W. L: sitting on ground; r. hand holding reaping-hook. 

Half-tone print : 5 x 33^. PI. to Montreal 1535-1914, by William Henry Atherton, 
vol. I (Montreal, etc.: 1914). There is another view in Recit-Souvenir de l'inaugu- 
ration du Monument Maisonneuve à Montréal le 1er juillet 1895. 

One of the bronze castings at the corners of the Maisonneuve monument, by Hébert, 
in the Place d'Armes, Montreal. 

CHARLES II 

29 May 1630 — 6 February 1685 

Charles II, eldest son of Charles I and Queen Henrietta Maria, was 
proclaimed king in Scotland on the death of his father in 1649. The 
Scottish forces were crushed by Cromwell in 1651, and Charles fled to 
France. He was restored to the British throne in 1660, landing at 
Dover on May 26. His reign saw the restoration of Nova Scotia to 
France by the peace of Breda, 1667, and the founding of the Hudson's 
Bay Company. 

704 Collection of the Marquis of Exeter. \ FiG. 8. — CHARLES H. AS A | 

BOY. By John Hoskins. 

Bust : to 1. 

Half-tone print : oval, 2)4, x 1^. Several others on same plate. PI. to Encyclopœdia 
Britannica, 11th éd., vol. XVIII (Cambridge : 1911). 

John Hoskins ( ? — 1664) was a portrait painter of the time of Charles I who excelled 
especially in miniatures. 

705 Copyright 1903 by C. Barrie and Sons [On guard] dLl^àXltH 33 | Aftef 

the Miniature by Samuel Cooper in the Collection \ of the 
Duke of Richmond, at Goodwood 

H. L.: to 1.; head and eyes directed to r.; in Garter robes. 

Photo-process print, coloured : 3J4 x 4. PI. to Lives of the Queens of England, 
by Agnes Strickland, Imperial Edition, vol. XI (Philadelphia : [1902] ). The same 
picture, in half-tone, is in the collection of Historical Portraits chosen by Emery 
Walker and published by the Clarendon Press, vol. II (1911). 

706 Fig. 29. — Charles H., King of England. After a copper-engraving, 
1736, by George Vertue | (1684-1756). Original painting by Peter 
Lely (1617-1680). 

Bust : toi.; with collar of the Garter, and George. In ornamental 
oval frame, with royal arms below. 

Print : oval, 4pi x 4J^; with border, rect., 5}4 x 4}^. In A History of All Nations, 
edited by J. H. Wright and others, vol. XIII (Philadelphia and New York : [1905] ). 

George Vertue (1684 — 1756), artist, engraver, and antiquarian, was a native of 
London. He is famous both for his engravings and for his researches into the history 
of art in England. 



155 

707 Engraved by W. Ridley, from an original Painting, by Sir Peter Lely. 

CHARLES II. 

Same portrait. 
Clipping. Stipple engr. : oval, 3% x 2J^. 



708 



CHARLES II. 

Same portrait, reversed. 

Clipping. Stipple engr.: oval, 3J^ x 2}^. 



709 Title missing. 



Same portrait. To 1. 

Clipping. Line and stipple engr.: oval, 4% X 3 1^. Trimmed. 

710 Title missing. 

Same portrait. To r. 

Clipping. Line engr.: SM X 3 Ji (rounded at top). Trimmed. 

711 Engraved by W. Finden. | KING CHARLES THE SECOND. | 
OB. 1685. I FROM THE ORIGINAL OF SIR PETER LELY, IN THE 
COLLECTION OF | THE MOST NOBLE THE MARQUIS OF 

HERTFORD. | London, Published Jan. 1, 1S31; by Harding &■ Lepard, Pall 
Mall East. 

T. Q. L.: to r.; in armour; r. hand holding truncheon, 1. hand resting 
on helmet. Crown and sceptre on table in r. background. 
Stipple and line engr.: 5 x 3H- PI- to Portraits and Memoirs of the most illustrious 
personages of British History, by Edmund Lodge, 3rd éd., no. XXV (London : 1831). 
The sarne plate, with slight variations in execution, and an ornamental border, is in 
The British Colonics; their history, extent, condition, and resources, by R. Montgomery 
Martin, vol. I (London and New York). 

712 DAVID LOGGAN | Drawing in pencil on vellum] [Collection of Dr. G. C. 
Williamson | CHARLES H. 

Bust : to 1. 

Half-tone print : oval, 5 x 3%. PI. to Bryan's Dictionary of Painters and Engravers, 
edited by George C. Williamson, vol. Ill (London : 1919). 

David Loggan (c. 1630 — 1693), draughtsman and engraver, was born in Dantzic, 
and is said to have been the pupil of Simon van de Passe and of Hendrick Hondius. 
He settled in England before the Restoration. 

713 W. L. Colls. Ph. Sc. I Charles II. | From an engraving by Smith after Wissing. 

H. L.: to I.; head turned to r.; in armour. 
Clipping. Photogravure : oval, 3J^ x 2^; vinth border, rect. 

William Wissing (1656 — 1687) was born at Amsterdam. He came to England in 
1680 and was for a time assistant to Sir Peter Lely. He was appointed principal 
painter to James H. John Smith (1652 — 1742), a native of Daventry, became the 
foremost mezzotint engraver of his time. 

714 HIST. D'ANGLETERRE. | | CHARLES II. | Wander-Werff 
pinx{ Landon direx'. 

Nearly H. L.: to 1.; head directed to r. 

Outline engr. : 2^ x 2; with border, 3% x 2}4. PI. to Galerie historique des hommes 

les plus célèbres, by C. P. Landon, vol. X (Paris : 1807). 



156 

715 CHARLES II. I J. W. Cook, se. 

Bust : to 1. In ornamental frame. 

Clipping. Line engr.: oval, IM x 1%; with border, irregular oblong, about 3K x 25^. 

John William Cook was an engraver who worked in London about the beginning of the 
nineteenth century. 

There is a miniature portrait of Charles II on the first sheet of the Charter of the 
Hudson's Bay Company, reproduced in facsimile in The Governor and Company of 
Adventurers of England Trading into Hudson's Bay during Two Hundred and Fifty 
Years 1670—1920, by Sir William Schooling (London: 1920). 

716 CaEO: II. [On tablet] Clarissimo \ Viro Domino | GEORGIO LANE | 
Equiti Aurato et Baro- \ netto, Serenissimi Regis \ CAROLI II in Hibernia \ Secre- 
tario suo princi- \ pali ibidemqz è Se- | cretiorihus Consilijs. ] Sigillum hoc \ 

H.D. F. S. [Obverse of seal : inscription in border] CAROLVS II 

DEI GRATIA MAGN.E BRITANNI.E 
FRANCIiE ET HIBER: | REX FIDEI 

DEFENSOR 1653 [Reverse : same inscription with slight 

modification.] 

Obverse. W. L. : seated on throne, with crown, sceptre, orb and 
insignia collar. Lion and unicorn holding standards of St. George 
and St. Andrew on either side. Reverse. W. L. : on horse-back; to r.; 
in armour, with shield, brandished sword, and hound. 

Line engr.: each 5%, diam. PI. to A Genealogical History of the Kings and Queens of 
England and Monarchs of Great Britain, by Francis Sandford and Samuel Stebbing 
(London : 1707). 

717 CAROLUS !!• [On tablet] Illustrissimo et Nobilissimo \ Domino 

DANIELI Comiti de \ NOTTINGHAM, et Baroni FINCH | de DAVENTRY; 
Filio natii maximo \ et Hœredi, Illustrissimi Domini HEN'""-!AGIJ nuper Comitis 
de NOTTINGHAM | Et summi ANGLIC Cancellarij; Sigillum \ hoc Ichnographi- 
cum CAROLI Se-\cundi ANGLIiE b'c Regis | H. D. D. S. S. [Inscriptions 

in borders of seal : obverse] CAROLVS. II. DEI. GRA. 

MAG. BRITAN. FRAN. ET. HIB. REX. FID. 
DEFENSOR [Reverse] CAROLVS. II. DEI. 

GRATIA. MAG. BRITANNIA. FRANCI.^. 
ET HIBERNIA REX. FIDEI. DEFENSOR 

Obverse. W. L. : seated on throne, with crown, sceptre, orb, sword 
and insignia collar. Lioris supporting throne; three standards on each 
side. Reverse. W. L. : on horse-back; to r.; with laurel wreath and 
curved sword. 
Line engr.: each 5% diam. PI. to Sandford and Stebbing, op. cit. 

This seal was cut after the Restoration. 



HENRY RENNET, EARL OF ARLINGTON 

1618 — 28 July 1685 

Henry Bennet, son of Sir John Bennet of Suffolk, adhered to the royal- 
ist cause during the civil war and the interregnum, and held an impor- 
tant place at the court of Charles II. He was secretary of state from 




GODEFROY, (^OMTE d'£sTRADES 

Lme engraving hy Et. Picart 

7v(o. 719 



157 

1662 to 1674, a position which brought him into constant connection 
with colonial affairs. In 1663 he was made Baron Arlington, and in 
1672 Earl of Arlington and Viscount Thetford. He was one of the 
original members of the Hudson's Bay Company. 

718 LelyPinx. | HENRY BENNET. | EARL OF ARLINGTON. 

H. L.: to 1.; wearing embroidered sash. In octagonal setting. 
Clipping. Stipple engr.: 3 M x 2>i- 



GODEFROY, COMTE D'ESTRADES 

1607 — 26 February 1686 

Godefroy, Comte d'Estrades, was born at Agen. He had a distin- 
guished military and diplomatic career. He was created lieutenant- 
general in 1650 and marshal in 1675. Appointed ambassador to 
London in 1661, he conducted the negotiations leading to the restora- 
tion of Dunkirk to France in 1662. From 1662 till his death he was 
viceroy of New France. 

719 (Inftamel LVDOVICVS GODE- 
FROY COMES DESTRADES 

EQVES TORQVATVS &c \ 

Stephanus Picart Ro^^ fecit \ DuNKERCAM PRO ReGE 

AB Anglis Anno 1662 redemit et rexit — 

H. L.: to 1.; in armour, with cross of St. Esprit. In frame, with coat 

of arms below. 

Line engr.: oval, 9J^ x 1^; with border, rect., li^i x ll}4- 

Etienne, or Stephanus, Picart (1632 — 1721), called "the Roman", was born at Paris 
and died at Amsterdam, but during a great part of his career as an engraver lived at 
Rome. 

720 Title missing. 

Bust : to r.; in armour. 

Clipping. Print after line engr. : oval, 3^ x 3. Trimmed. 



LOUIS DE BOURBON, PRINCE DE CONDE 

8 September 1621 — 11 November 1686 

Louis n de Bourbon, Prince de Condé, called "the Great Condé", 
was the son of Henry II, Prince de Condé. He became one of the most 
famous generals of Europe. He was educated at the Jesuit college of 
Bourges, where one of his teachers was Father Ragueneau, and took 
much interest in Canada. Ragueneau and the Governor, Dubois 
d'Avaugour, appealed to him in 1661 for military help for New France. 



158 

721 Fig. 17. — The Great Condé. After a copper-engraving by Ph. 
Lefebvre; original painting | by Robert Nanteuil (1630-1678). [On 
face of print] Nanteuil del. Ph. LeFebvre Sculp. 

Bust : to 1.; with ermine robe and cross of St. Esprit. In frame. 
Print : oval, 3 J^ x 3; with border, rect., 3%x3}i. In A History of All Nations, 
by J. H. Wright and others, vol. XIII (Philadelphia and New York : [1905] ). 

Philippe Lefebvre, or Lefevre, was a painter and engraver who worked in Paris 
about 1770. 

722 Engraved for the Universival Magazine. | ] Lewis of 
Bourbon, | Prince of Conde. | Printed for j. Hinton at 

the Kings Arms in Paternoster Row. 

Similar portrait. To 1. In frame on pedestal. 

Line engr.: oval, 3J^x3; with border, rect., 5?^ x 3M- PI- to The Universal 
Magazine, March, 1776. 

723 HIST. DE FRANCE. | | CONDÊ. | Nanteuil del{ Landon direx{ 

Similar portrait. To r. 

Etching : 2% -x. 2}4,- PI- to Galerie historique des hommes les plus célèbres, by C. P. 
Landon, vol. V (Paris : 1805). 

724 Conïic 

Similar portrait. To 1. In frame. 

Clipping. Line engr.: oval, 2}4 x 2; with border, rect., 4J^ x S}4,- Trimmed. 

725 Lith. de Deipech Z^ Belliard \ LE GRAND CONDÊ. | 

Tiré du Musée Royal de France 

Nearly H. L.: to 1.; in armour, with sash and lace collar. 

Lith.: about 9J^ x 8. PI. to Iconographie Française, by Madame Deipech, vol. I 

(Paris : 1840). 

726 Photogravure Co. N. Y. | CONDE, 

Same portrait, reversed. 

Photo-process print : about 314 ^ 3}/^. PI- to France under Matarin, by James 
Breck Perkins, vol. II (New York and London : 1886; 5th imp. 1902). 



LA SALLE 

November 1643 — 19 March 1687 

Robert René Cavelier, Sieur de La Salle, one of the greatest of American 
explorers, was a native of Rouen, where he was baptized on November 
22, 1643. In 1666 he came to Canada, and in 1667 obtained a grant of 
land which became the seigniory of Lachine. In 1669 he began those 
western expeditions which added the valley of the Mississippi river 
to the dominions of France. In 1675 he received a grant of Fort 
Frontenac. In 1684 he led an expedition from France to found a 
colony at the mouth of the Mississippi. The undertaking proved a 
failure, and La Salle was murdered by some of his followers. 



159 

727 [In frame] ROBERT CAVELIER DE LA SALLE 

[Under picture] Jules ADELINE Del. D'après une Gravure de la Bibliothèque de 
Rouen. 

Bust : toi.; head in profile; r. hand holding map. In round frame 
on ornamental mount. Tablet with scene below. 

Lith.: 25^ diam.; with border, 6J^x3J^. PI. to Découvertes et établissements de 
Cavelier de La .Salle, by Gabriel Gravier, (Paris : 1870). There are reproductions 
in Narrative and Critical History of .America, edited by Justin Winsor, vol. IV (Boston 
and New York : [1884] ), and elsewhere. 

Gravier states that the engraving in the Bibliothèque de Rouen, where it is still 
preserved in the series of Norman portraits, is of the seventeenth century. It 
bears the legend: CAVILLI DE LA SALLE FRANÇOIS. 

728 ROBERT CAVALIER DE LA SALLE | From a Photograph of the 

Original Painting | Engraved by H. B. Hall &■ Sons for the Magazine of American 
History. 

Same portrait, modified. 

Stipple and line engr.: about 4}4 x 3^. PI. to Magazine of American History, 

vol. VIII (May, 1882). There are copies of this picture in Ontario Historical Society 

Papers and Records, vol. IV (Toronto : 1903); The History of North America, edited 

by Guy Carleton Lee, University Edition, vol. XI (Philadelphia : [1905] ); and 

elsewhere. 

This is from a modern painting, based on the preceding print. 

• 729 Fac-s.imile d'une gravure | du Cabinet de M. Edouard PELAY j 

de Rouen. [In frame] LE SIEVR DE LA SALLE 

Nearly H. L.: to 1. In round frame. 

Print from line engr.: J^ diam.; with border, pixl%. On India paper, mounted. 

PI. to Cavelier de La Salle de Rouen, by Gabriel Gravier (Paris : 1871): 

730 Waltner sculpt | CAVELIER DE LA SALLE. I Imp. Ch. 

Chardon aine, Paris. 

Bust : to r. 

Etching: oval, 45^ x 3Ji. PI. to Découvertes et établissements des Français dans 
l'Ouest et dans le Sud de l'Amérique Septentrionale 1614-1608, by Pierre Margry, 
part I (Paris : 1879). There are many reproductions : LeClercq's First Establish- 
ment of the Faith in New France, translated by John Gilmary Shea, vol. II (iVew 
York : 1881); Histoire des Canadiens-Français, by Benjamin Suite, vol. I (Montreal : 
1882); Guy Carleton hee, op. cit., vol. Ill (Philadelphia : [1904]); Canada and Its 
Provinces, edited by Adam Shortt and Arthur G. Doughty, vol. I (Toronto : 1913); 
etc. 

Of this portrait Margry says only that he was compelled to select, from two engravings 
representing the discoverer, that which appeared most likely to be authentic. 
According to Justin Winsor {Narrative and Critical History of America, vol. IV, 
p. 242) it was derived from a representation of the murder of La Salle, engraved 
by Van der Gucht and published in the London (1698) edition of Hennepin's New 
Discovery. 

ABRAHAM DU QUESNE 

1610 — 2 February 1688 

Abraham Du Quesne, one of the greatest of French naval leaders, was 
a native of Dieppe. His family continued to play an important part 
in the history of the French marine. His great-grandson became 
governor of Canada. 

731 [Original title] Edeiinck Sculp, c. P. R. | Abraham d II Qiwsne I 

Lieutenant Gnâl des Armées Nauales du Roy [Remainder of title 
missing.] 



160 

H. L.: toi.; head turned to r.; in armour. In frame, with coat of 
arms below. 

Half-tone print : oval, 3Ji x 2%; with border, rect., 4J4 x 3%. PI. to Histoire de la 
marine française, by Charles de LaRonciêre, vol. V (Paris : 1920). 

732 Petiteau Pinx. Ficquet Sculp. | ABRAHAM DU QUESNE | 

Général des Armées Navales de France, \ Né en Norm-andie en 
1610, Mort le 2. Février 1688. 

Same portrait, reversed. In oval frame on pedestal. 
Line engr.: oval, 3^ x 3; with border, rect., S% x Ayi. 

Etienne Ficquet (1719 — 1794), a native of Paris, became an engraver of remarkable 
skill. He is especially noted for his portraits. 

733 Maurin \ uth. de oeipech. I DU OUESNE | Tired» 

Château d'Eu. 

Same portrait. Bust. Position as in the Edelinck engraving. 

Lith.: about 10x9. PI. to Iconographie Française, by Madame Delpech, vol. I 
(Paris : 1840). 

POPE INNOCENT XI. 

16 May 1611 — 11 August 1689 

Benedetto Odescalchi, a native of Como, was created cardinal in 1645 
and elected Pope, September 21, 1676, succeeding Clement X. His 
pontificate was marked by a struggle with Louis XIV of France which 
had some influences on ecclesiastical affairs in Canada. In 1687 he 
appointed Mgr. St. Vallier bishop of Quebec. 

734 Innocent XI. | Aven': 1676.— Mort 1689. 

Bust : to r.; head in profile. 
Clipping. Line engr.: iyi diam. 

735 INNOCENT XI I 1611 - 1689 [On medal] INNOC. XI. 
PONT. M. A. XI. I HAMERANVS . F . 

Medal, with bust, to r. 

Half-tone print : l^/g diam. On pi. in Galerie Canadienne de portraits historiques, by 
L. J. A. Derome (Montreal : 1921). 

COLBERT DE SEIGNELAY 

1651 — 3 November 1690 

Jean Baptiste Colbert, Marquis de Seignelay, was the son of the great 
Colbert, whom he succeeded as minister of marine and the colonies. 

736 Copyright, 1897, by Little, Brmvn, àf C? Goupil b' C? Paris. [On guard] 

Marquis de Seignelay. [in list of Illustrations] From the original 
painting by Claude Lefebvre, in the Versailles Gallery. 

T. Q. L.: to r.; seated at writing table; wearing lace cravat and 
damask robe. 

Photogravure : 3J4 x 314- PI- to La Salle and the Discovery of the Great West, by 
Francis Parkman, Champlain Edition, vol. II (Boston : 1897). 

Claude Lefebvre (1632 — 1675), portrait painter, was born at Fontainebleau, but lived 
chiefly in Paris. He spent a short time in England at the court of Charles II. 



161 



737 Title missing. 



Nearly H. L.: to 1. 

Clipping. Half-tone print after line engr.: oval, 3% x 2}^. Trimmed. 

POPE ALEXANDER VIII 
April 1610 — 1 February 1691 

Pietro Ottoboni, a native of Venice, was created cardinal in 1652 and 
elected Pope October 5, 1689, succeeding Innocent XI. 

738 ALEXANDRE VIII | 1610-1691 [On medal] ALEX : VIII. 

P : M : OTTHOBONVS VENETVS | hameranvs f. 

Medal, with bust, to r. 

Half-tone print : 2% diam. On pi. in Galerie Canadienne de portraits historiques, by 
L. J. A. Derome (Montreal : 1921). 

THE MARQUIS DE LOUVOIS 
January 1639 — 16 July 1691 

François Michel Le Tellier, Marquis de Louvois, son of Michel Le 
Tellier, chancellor of France, was baptized in Paris January 18, 1639. 
In 1654 he obtained the reversion of the office of secretary of state for 
war, and exercised the duties from about 1666. He and his rival, 
Colbert, were the ablest ministers of Louis XIV, and he made the 
French army the most efficient in the world. 

739 2ti* Belliard Nanleml pinx'. [ Imp. Lith. de Delpech. | 

LOUVOIS. I Tiré du Cabinet de Af le Ch^^ Lenoir. 

Bust : to r. 

Lith.: about 10x8. PI. to Iconographie Française, by Madame Delpech, vol. I 
(Paris : 1840). 

740^ Fig. 27. — Francis Michael Letellier, Marquis de Louvois. Facsimile 
of a copper-engrav- 1 ing by Gerard Edelinck (1640-1707): original 
painting by Pierre Mignard (1612-1695). [In frame] FRANCOIS 

MICHEL LE TELLIER MARQVIS DE 
LOVVOIS MINIST. ET SECRET: 

D'ESTAT. 

Bust : to r.; eyes directed slightly to 1. 

Print after line engr.: oval, S^^s x i%. In A History of All Nations, by J. H. Wright 
and others, vol. XIII (Philadelphia and New York : [1905] ). 

741 HIST. DE FRANCE. | | LOUVOIS. | L. Voet Pinx'. Landon direx'. 

Nearly H. L.: to 1. 

Outline engr. : 2}4 x 2; with border, 3% x 2J^. PI. to Galerie historique des hommes 

les plus célèbres, by C. P. Landon, vol. VII (Paris : 1806). 



162 

PAUL PELISSON 

30 October 1624 — 7 February 1693 

Paul Pelisson, noted French writer, was born at Béziers. He held 
important positions under Fouquet; and after his conversion to the 
Catholic faith, in 1670, was appointed royal historian. The successful 
use among the Iroquois Indians of medicines obtained from him is 
reported by Jesuit missionaries in 1682. 

742 Maurin Imp. Lith. de Delpech a Paris | PELISSON. | 

Tiré de l'Institut Royal de France. 

Nearly H. L.: to r.; in gown and linen collar. 

Lith.: about 10 X 9. PI. to Iconographie Française, by Madame Delpech, vol. II 

(Paris : 1840). 

JEAN TALON 

C. 1625 — 23 November 1694 

Jean Talon, son of Philippe Talon — ^who was the second cousin of Omer 
Talon, avocat-général of the parlement of Paris — was born at Chalons- 
sur-Marne. He entered the army administration service about 1653, 
and was intendant of Hainaut from 1655 to 1665. On March 23, 1665, 
he was appointed intendant of New France; arrived at Quebec Septem- 
ber 12; and departed for France in November, 1668. He received a 
second appointment May 10, 1669; reached Quebec, August 18, 1670; 
and returned November, 1672. He was captain-governor of the 
castle of Mariemont, near Mons, from 1670 till his death; first valet of 
the king's wardrobe from about 1673 to 1692 ; and secretary of the king's 
cabinet, about 1681 to 1692. In 1667-1670 he purchased the fief des 
Islets, originally granted to Louis Hébert; in 1671 he was created Baron 
des Islets; and in 1675 the title was raised to that of Comte d'Orsain- 
ville. 

743 Copyright, 1897, by Little, Brmvn, £?• C<? Goupil &• C? Paris. [On guard] 
Jean Talon. [In list of Illustrations] From the original painting in the 
Hôtel Dieu, Quebec. 

H. L.: to r.; r. hand holding paper. 

Photogravure : 4% x 3}^. On India paper, mounted. PI. to La Salle and the 

Discovery of the Great West, by Francis Frankman, Champlain Edition, vol. I (Boston : 

1897). 

744 TALON, I By Th. Hamel after the painting in the Hôtel Dieu, 
Quebec. 

Same portrait. Bust. 

Line engr.: about 4 x 4Ji. PI. to History and General Description of New France, by 
Charlevoix, translated by John Gilmary Shea, vol. Ill (New York : 1868). The 
same plate, apparently retouched, is in First Establishment of the Faith in New France, 
by LeClercQ, translated by J. G. Shea, vol. II (New York : 1881): it has the follow- 
ing addition to the title : Copyright by John G. Shea, 1878. 



163 

745 JEAN TALON | premier intendant 

DE LA NOUVELLE-FRANCE [Signed] Albert Ferland \ 

1630, Notre-Dame \ Montreal 

Same portrait. 

Photo.: 13 J^ X 10»^. Mounted. 

This photograph is from a copy of the Hotel-Dieu picture, in the Chateau de Ramezay, 
Montreal. 

746 [On guard] JEAN TALON | Water-color facsimiles from 
the original paintings in the Château de Ramezay, Montreal. 

Same portrait. 

Print, coloured : oval, 2]/^ x 2. Two others on same plate. PI. to The History of 
North America, edited by Guy Carleton Lee, University Edition, vol. Ill (Phila- 
delphia : [1904] ). 

There are many other reproductions of this portrait, based either on the original in 
Quebec or on one of the copies made from it : as in Jean Talon, intendant de la 
Nouvelle France, by Thomas Chapais (Quebec : 1904) ; Canada and Its Provinces, 
edited by Adam Shortt and Arthur G. Doughty, vol. II (Toronto: 1913); The Great 
Intendant, by Thomas Chapais (Toronto : 1914). 

747 No title. 

Same portrait. 

Pen and ink sketch : about 6x4. 



MARY II 

30 April 1662 — 28 December 1694 

Mary, eldest child of James, Duke of York, afterwards King James II, 
and of Anne Hyde, was married to William, . Prince of Orange, on 
November 4, 1677. As a result of the revolution of 1688 William and 
Mary were proclaimed joint sovereigns of Great Britain, France and 
Ireland on February 13, 1689. 

748 Copyright 1903 by G. Barrie S- Sons [On guard] ^tiXlttëi MàXp, 

2âaugï)tCr of ^atntH 33 | After the Painting by Sir Peter Lely in 
the Royal \ Collection at Hampton Court 

When a child. Nearly W. L.: to 1.; in character of Diana, with 
crescent in hair and holding bow and arrow. 

Photo-process print, coloured : 5J^ x 4. PI. to Lives of the Queens of England, by 
Agnes Strickland, Imperial Edition, vol. XIII (Philadelphia : [1903] ). 

It is not quite certain that this is a portrait of the Princess Mary. 

749 Copyright 1903 by G. Barrie & Sons [On guard] (BUttVl 0iàXp 33 | 

After the Painting by William Wissing, now in the | National Portrait 
Gallery, London 

Nearly W. L.: face slightly to 1.; seated; in ermine robe. Crown 
and sceptre on table to r. 

Collotype : 5}4x 4. PI. to Agnes Strickland, op. cit., vol. XIV. There is a half- 
tone copy of this portrait in the collection of Historical Portraits chosen by Emery 
Walker and published by the Clarendon Press, vol. II (1911). 



164 

750 (In frame] QUEEN MARY. | [Under picture] G. KnelUr 
pinxit At Kensington Palace. I- Houbraken Sculps. Amst. 1744. \ Impensis 
I. S- P. Knapton Londini. 

Nearly H. L.: to r. In oval frame, with ornaments. 

Line engr.: ova\. 6J4 x. 5%; with border, rect., 13^x83^. PI. to The Heads 
Illustrious Persons of Great Britain, hy Thomas Birch (London: 1743-52). 

751 Engraved for the Universal IVIagazine. | | MARY 

Queen to WILLIAM III. | Printed for J. Hinton at the 
King s Arms in Newgate Street. 

Same picture. Title omitted from frame, and modifications in treat- 
ment of ornamental border. 

Line engr.: oval, 33^x2^^; with border, rect., 65^x4. PI. to The Universal 
Magazine, Dec, 1761. 

752 MARY II. 

Same portrait. 

Clipping. Stipple engr.: oval, 3}4 x 2}^. 

753 [On pedestal] MARY. IL 

Same portrait. To 1. In oval inset above pedestal, on which is 
tablet with scene. Female figure on either side of pedestal. 
Clipping. Line engr.: oval, 4x3; with border, rect., 6^ x 4}4- Trimmed. 

SIR WILLIAIM PHIPPS 

2 February 1651 — 18 February 1695 

William Phipps, or Phips, was born near Pemaquid (now Bristol) in 
the present state of IVIaine. He became a merchant captain, and 
acquired fame and fortune by discovering a wrecked Spanish treasure- 
ship. In 1687 he was knighted and appointed provost marshal-general 
of New England. In 1690 he captured Port Royal, but was defeated 
in an expedition against Quebec. In 1691 he was appointed governor of 
of Massachusetts. 

754 SIR WILLIAM PHIPS. 

Nearly W. L.: to 1.; seated; r. hand holding document. 

Woodcut : 4J^ x 3M; with border. 5x4. In The Memorial History of Boston, edited 
by Justin Winsor, vol. II (Boston : 1881). The same print is in Narrative and 
Critical History of .America, edited by Justin Winsor, vol. IV (Boston and New York : 
[1884] ); and there are reproductions of the picture in 1690 Sir William Phips devant 
Québec, by Ernest Myrand (Quebec : 1893); New England and New France, by James 
Douglas (Toronto and New York : 1913) ; and elsewhere. 

The original painting was the property of Thomas Thompson, and, later, of the Hon. 
Francis B. Hayes of Boston. Mr. C. K. Bolton, of the Boston Athenaeum, who has 
made a careful study of this picture, declares that "it does not and cannot represent 
Sir William Phips, nor do we know whom it does represent." 



165 

SIMON BRADSTREET 

March 1603 — 27 March 1697. 

Simon Bradstreet, a native of Harbling, Lincolnshire, England, came 
to Massachusetts in 1630. He was the first secretary of the colony, 
was deputy-governor from 1672 to 1679, and governor from 1679 to 
1686. After the successful revolt against Governor Andros in 1689 
he was president of the colony till 1692. He was head of the adminis- 
tration that fitted out the expeditions against Port Royal and Quebec 
in 1690. 

755 SIMON BRADSTREET. 

Nearly H. L.: slightly to 1. 

Woodcut : 3Ji diam.; with border, rect. In The Memorial History of Boston, edited 

by Justin Winsor, vol. I (Boston : 1880). 

756 Gravure, Andersen-Lamb Co. N. Y. [On guard] SIMON BRADSTREET | 
Painting in the State House, Boston. 

Same portrait. 

Photogravure : 3% x 2%. One other on same plate. PI. to The Fathers of New 

England, by Charles M. Andrews (New Haven, etc.: 1919). 

757 J. w. ORR. N. Y. I GOVERNOR BRADSTREET. 

Same portrait, reversed. 
Clipping. Woodcut : about 4}4 x 3%. 

THE COMTE DE FRONTENAC 

1620 — 28 November 1698 

Louis de Buade, Comte de Frontenac et de Palluau, was the son of 
Henri de Buade, friend of Louis XIH, and of Anne de Phélippeaux, 
member of a family of note in the official world of France. He dis- 
tinguished himself as a soldier, expecially in the command of Candia 
during its last siege by the Turks, 1669. On April 6, 1672, he was 
appointed governor of New France, and in September arrived at 
Quebec; on May 9, 1682, he was recalled, and left Quebec in 
September. He was re-appointed governor June 7, 1689, and reached 
Quebec on October 15. The remainer of his life was spent in New 
France. 

758 FRONTENAC. 

Bust : to 1.; in profile; head resting on pillow. After death. 

Woodcut : about 4 x 4J^. PI. to Histoire des Canadiens-Français, by Benjamin 
Suite, vol. I (Montreal : 1882). There are other reproductions of this portrait. 

This picture is based on photographs of an engraving, believed to be a portrait of 
Frontenac, which were sold in Quebec from about 1867. In reality, the original 
engraving was a portrait of Jean Henri Heidegger (1633 — 1698), a Swiss clergyman, 
engraved in 1778 by Jean Henri Lips (1758 — 1817), and published in a work of 
Gaspard Lavater. See 1690 Sir William Phips devant Québec, by Ernest Myrand 
(Quebec: 1893), pp. 384-402. 
There is not, so far as is known, any authentic portrait of Frontenac. 



166 

759 Copyright 1904 by G. Barrie & Sons [On guard] LOUIS DE BUADE, | 

Comte de Frontenac. | From the Sir Gilbert Parker \ Collection, 
in the library of Queen's University. 

Nearly H. L.: to 1.; head in profile. 

Coloured print : oval, 2 J^ x 2. Two others on same plate. PI. to The History of 
Noilh America, edited by Guy Carleton Lee, University Edition, vol. XI (Canada and 
British North America, by W. Bennett Munro) (Philadelphia : [1905] ). 

760 Copyright, 1897, by Little, Brown, b" C°. Goupil &• C? Paris. [On guard] 

Figure of Comte de Frontenac. [In list of Illustrations] From the 

statue by Philippe Hébert, in Quebec. 

Statue. W. L.: r. hand pointing to cannon. 

Collotype : 6}^ x 2%. On India paper, mounted. PI. to Count Frontenac and New 

Frawce MM(i(?r LoMii X/V, by Francis Parkman, Champlain Edition, vol. II (Boston: 

1897). There are copies of this picture in Les Monuments commémoratifs de la province 

de Québec, by Pierre Georges Roy, vol. I (Quebec : 1923), and in many other 

publications. 

This statue, which is placed in the façade of the Palais législatif at Quebec, was 
installed in 1890. 

FRÈRE DIDACE 

28 June 1657 — 21 February 1699 

Claude Pelletier was born at Ste. Anne de Beaupré. He entered the 
Récollet order at Quebec in 1679, taking the name Didace, and was 
stationed subsequently at He Percée, Placentia in Newfoundland, 
Montreal and Trois Rivières. After his death depositions as to his 
sanctity were taken by direction of Bishop St. Vallier, with a view to 
possible canonization. 

761 Reproduction d'un portrait à l'huile, conservé à Dieppe, France. | L'original mesure 
en pouces lôV^ X 13"6.) [On original] SAINT | DIDASSE | 

PELTIER. 

T. Q. L.: tor.; wearing crown; skull in r. hand. Crucifix on table 
to r. 

Half-tone print : 5 x 33^. PI. to Étude historique et critique sur les actes du frère 
Didace, by Odoric M. Jouve (Quebec : 1911). 

762 Photo. E. Mazo, Paris. | Reproduction du portrait du Frère Didace, 
conservé au département | des Estampes, Bibl. Nat., Paris. | Ce portrait mesure en 
pouces 7"7 X 5"7.) [Original title] Le way portrait du très Religieux f^ Didace 

pelletier, f^ lay Recol-\ let. Natif de S'.* Anne en Canada, mort en odeur de 5?''^ 
dans la Mis- 1 sion de la Nouvelle france, le 21. feburier, 1699, âgé de 41. an. et 20. 
de Religion, et que Dieu honore par plusieurs miracles. 

Nearly T. Q. L.: to r.; skull in r. hand. Crucifix on table to r. The 
setting corresponds with that of the preceding (except that the crown 
is absent), but the details are different and much less crude. 
Half-tone print after line engr.: 4x3>i; with margin, 4J4 x 3H- PI- to Jouve, 
op. cit. There are other copies in Serviteurs et Servantes de Dieu en Canada, by N. E. 
Dionne (Quebec : 1904), and Galerie Canadienne de portraits historiques, by L. J. A. 
Derome (Montreal : 1921). 

JEAN RACINE 

December' 1639 — 21 April 1699 

Jean Racine, one of the greatest of French poets and dramatists, was 
born at La Ferté INiilon in the duchy of Valois. He was baptized on 



167 

December 22, 1639. His plays, with those of his rival, Corneille, were 
the favourites of the early amateur performers of New France. 

763 Fig. 54. — Jean Racine. Reduced facsimile of an engraving by Gerard 
Edelinck (1640-1707). [Original title] Edelinck Sculp.C.P.R\ 

JCCLTI IXQCinC 1 de VAccademie Françoise. 

Nearly H. L.: to r. In oval frame with coat of arms below. 
Print from line engr.; oval, 4J^ x 3^; with border, rect., 5% x 4Ji. PI. to A History 
of All Nations, edited by J. H. Wright and others, vol. XIII (Philadelphia and New 
York : [1905] ). 

764 Rigaadpinxi Z^J? Bclliard I I . lilh. de Delpech. \ RACINE. | 
l'Original appartient à M^f Jacobs de Naurois. 

Apparently the same portrait. Bust : to r. 

Lith.: about 10 X 9. PI. to Iconographie Française, by Madame Delpech, vol. II 

(Paris : 1840). 

765 HIST. DE FRANCE. | | JEAN RACINE. | /• B. Santerre pinx*. 
Landon direx^. 

Somewhat similar portrait. To 1. 

Outline engr. : 2% x 2; with border, Z% x2%. PI. to Galerie historiques des hommes 

les plus célèbres, by G. P. Landon, vol. IX (Paris : 1807). 

Jean Baptiste Santerre (1658 — 1717), a French painter — born at Magny, near 
Pontoise, died at Paris — was an artist who has left comparatively few works, but 
these very carefully executed. 

MARGUERITE BOURGEOIS 

17 April 1620 — 12 January 1700 

Marguerite Bourgeois, foundress of the Congregation of Notre Dame de 
Montréal, was born at Troyes. In 1653 she came to Montreal. In 
1657 she opened her first school. For carrying on the work of teaching 
she organized, in 1659, an uncloistered community of sisters, the con- 
stitution of which was finally adopted in 1698. She herself retired 
from the superiorship in 1693. In 1878 she was declared venerable, 
and in 1910 her virtues were proclaimed heroic, by the papal court. 

766 Le portrait de venerable Soeur Marguerite Bourgeois, \ 
premiere Supérieure des filles de la Congregation \ de Nôtre 
Dame établies à Ville-marie en V Isle de Montreal en\ Canada, 
decedée en odeur de Sainteté le douzième | de Janvier 1700. \ 

C. Simonneau Sculpsil 

H. L.: to r.; in religious garb. 

Line engr.: oval, 5Ji x 4J^; with border, rect., 8H x SJ^. 

Charles Louis Simonneau (1645 — 1728), born at Orleans, died at Paris, was a 
draughtsman and engraver of much skill. 

767 Imp. Dien, 32, r. Hautefeuille, Paris. Massard del et sculp*; | MAR- 

GUERITE BOURGEOYS. | Fondatrice des Soeurs 
de la Congrégation de Villemarie, | née le 17 Avril 
1620, décédée le 12 Janvier 1700. 



168 

Same portrait. 

Line engr.: 4^^ x 3%. PI. to Mémoires particulières pour servir à l'histoire de l'église 
de l'Amérique du Nord, [by the Abbé Faillon], vol. I (Paris : [1853] ). Also, with 
English title added, in History and General Description of New France, by Charlevoix, 
translated by John Gilmary Shea, vol. V (New York : 1871), and The Pearl of 
Troyes, or Reminiscenses of the early days of Ville-Marie (Montreal : 1878). There is 
a reproduction in The Old Régime in Canada, by Francis Parkman, Champlain 
Edition, vol. I (Boston : 1897); and there are many modern copies from this or the 
preceding print. 

768 LA SŒUR BOURGEOIS. 

Same portrait. Bust : to 1. 

Lith.: about 2 x IJ^. On pi. in Nos gloires nationales, (by the Abbé Daniel"), vol. I 

(Montreal : 1867). 

769 THE VENERABLE MARGUERITE BOURGEOYS | FOUNDRESS OF THE 
"CONGRÉGATION DE NOTRE DAME DE MONTREAL." 

Similar portrait. T. Q. L.: to r.; holding book and rosary. 

Half-tone print : 4 x 3. PI. to The Life and Times of Margaret Bourgeois, by 

Margaret Mary Drummond (Boston : [1907] ). 

LOUIS JOLLIET 

September 1645 — 1700 

Louis Jolliet, explorer and cartographer, was born at Quebec: his bap- 
tism took place September 21, 1645. He was educated at the Jesuit 
College. He became a fur trader; accompanied Father Marquette 
to the Mississippi river in 1673; made a journey to Hudson Bay in 
1679; and in 1694 explored the coast of Labrador. In 1679 he received 
a grant, jointly with his brother-in-law, of the seigniory of the Mingan 
islands; in 1680 a grant of that of Anticosti; and in 1697 of that of the 
Rivière des Etchemins. In 1680 he was appointed "hydrographer of 
the king", and in 1697 "professor of hydrography for the king at 
Quebec". He died at some date between May 4 and September 15, 
1700. 

770 LOUIS JOLLIET ] Découvreur du Mississipi [On original] LoVIS 

JoLIET B 1645 

Representation of a medallion. H. L.: looking to r. 

Half-tone print : 2)4 diam. On pi. to Galerie Canadienne de portraits historiques, by 
L. J. A. Derome (Montreal : 1921). 

POPE INNOCENT XII 

13 March 1615 — 27 September 1700 

Antonio Pignatelli was a native of Spinazzolo, near Naples 
In 1682 he was created cardinal, and on July 12, 1691, was elected 
Pope, succeeding Alexander VI 1 1. 

771 INNOCENT XII | 1615-1700 [On medal] INNOC. XII. 
PONT. MAX. A. II. 1 HAMERANO 

Medal, with bust, to r. 

Half-tone print : 2% diam. On pi. in Galerie Canadienne de portraits historiques, 
by L. J. A. Derome (Montreal : 1921). 



ILLUSTRATIONS 



LOUIS XV Frontispiece 

Painting in oils by J. B. Van Loo 

ADMIRAL SAUNDERS Facing p. i 

Painting in oils by R. Brompton 

FORT CHIPEWYAN " iv 

Water-color by Sir George Back 

THE DEATH OF WOLFE " xv 

Etching 

FORT GARRY " xviii 

Water-colour by H. J. Warre 

LOUIS XIV SENDS THE BRIDES TO CANADA " xxvi 

Water-colour by C. W. Jefferys 

ARRIVAL OF THE BRIDES AT QUEBEC " xxx 

Water-colour by C. W. Jefferys 

VISCOUNT NORTHCLIFFE " 1 

Painting in oils by P. A. de Lâszlô 

JACQUES CARTIER AT HOCH EL AGA " 40 

Lithograph by N. Sarony 

CHAMPLAIN " 98 

Crayon drawing by G. A. Reid 

GUILLAUME COUILLARD " 127 

Photograph from miniature 

PAUL LE JEUNE " 128 

Line engraving by R. Lochon 

THE MARQUIS DE TRACY " 136 

Line engraving by J. Lenfant 

PRINCE RUPERT " 149 

Line engraving by H. Snyers 

GODEFROY, COMTE D'ESTRADES " 157 

Line engraving by Et. Picart