Seigneur de guerre daddy mory biography
4. La Renommée. From Colonial Experiment to Creole Society
Dawdy, Shannon Lee. "4. La Renommée. From Colonial Experiment to Creole Society". Building the Devil's Empire: French Colonial New Orleans, Chicago: University of Chicago Press, 2008, pp. 139-188. https://doi.org/10.7208/9780226138435-008
Dawdy, S. (2008). 4. La Renommée. From Colonial Experiment to Creole Society. In Building the Devil's Empire: French Colonial New Orleans (pp. 139-188). Chicago: University of Chicago Press. https://doi.org/10.7208/9780226138435-008
Dawdy, S. 2008. 4. La Renommée. From Colonial Experiment to Creole Society. Building the Devil's Empire: French Colonial New Orleans. Chicago: University of Chicago Press, pp. 139-188. https://doi.org/10.7208/9780226138435-008
Dawdy, Shannon Lee. "4. La Renommée. From Colonial Experiment to Creole Society" In Building the Devil's Empire: French Colonial New Orleans, 139-188. Chicago: University of Chicago Press, 2008. https://doi.org/10.7208/9780226138435-008
Dawdy S. 4. La Renommée. From Colonial Experiment to Creole Society. In: Building the Devil's Empire: French Colonial New Orleans. Chicago: University of Chicago Press; 2008. p.139-188. https://doi.org/10.7208/9780226138435-008
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Arts Asiatiques Tome 68 – 2013 39 Drawings, Proofs and Prints from the Qianlong Emperor’s East Turkestan Copperplate Engravings Niklas Leverenz*
Résumé
Abstract
* The author would like to thank John Finlay, Paris, and Christer von der Burg, London, for their valuable suggestions and editorial input, and Palace Museum researcher Guo Fuxiang for bringing the Qianlong emperor’s decrees to his attention.
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40 Arts Asiatiques Tome 68 – 2013 These four missionary-artists also executed the sixteen model drawings for the copperplate engravings that were sent, as we shall see below, in groups of four from Canton (Guangzhou ) to Paris in the following years. On 18 November 1764, the Qianlong emperor ordered his sixteen large-scale paintings to be reproduced as smaller-scale model drawings for the copperplate engravings. The relevant historical source reads as follows: “ Qianlong 29.11.05 [ 27 November 1764], Ruyi guan, received from the Director Dekui and the Vice-Director Li Wenzhao, a document attached with the date 10.25 [ 18 November 1764]; the Palace Eunuch Hu Shijie transmitted the edict: As for the sixteen sheets of the ‘ Pictures of the paci ication of Yili and other places,’ I order Lang Shining [ Castiglione] to take the drawings at a convenient time to present for inspection and then to send [ them] to the Ao4 Customs Supervisor to send them on to France. I order men with skilled hands to take the drawings and to engrave copperplates. As for how the French should do them, I order Lang Shining to write out complete [ instructions] and send them there. Obey this.” 5
It is not known when the irst model drawings were inished, but some of the copperplate prints include in the inscriptions in the lower-left corner, along with the artist’s name, the production year of the corresponding drawing, which is noted as 1765 on ive prints and 1766 on one print (the other ten prints include no production year). None of these reduced model drawing Back to list of Issues Among the few accepted facts of the life of Alexander Montgomerie is his capture, between Gravesend and Brielle (The Brill), by an English ship bearing the Governor of Brielle, Sir Thomas Cecil, on 24 June 1586. The evidence for this is in a letter from Cecil himself to Lord Burghley, written two days after the event: ...we had lyke to haue had som lyttell fyghtes by the waye with our pynnase by mettynge of a Skottyshe Barke of eight skoore toonn with sixskoore Skottishe soldiers within hyr, and one MountGomerye one as he sayith hymself nere in credytt and place to the kynge of Skottland, one that hath serued in the Low Contryes and captayn of that shypp. /.../ the captayn hym self is gvone with certayn lattars of credytt to his Excellency and vntyll his retourn booth the shypp and the men I haue staydd here. Although no Christian name is given, the description fits the poet so well that there has been no challenge to the argument of R.D.S. Jack that he was the Scot thus taken. Three years later, James VI recalled that he had, in 1586, granted the said Capitane Alexander his Maiesties licence to depairt and pass of this realme to the pairtis of France, Flanderis, Spane and vthiris beyond sey, for the space of fyve yeiris thaireftir, and that Montgomerie had duly gone. Although there were other Montgomeries who bore the rank of Captain at this period, this conjunction, together with the captive's claim to be `near in credit and place to the King of Scotland', seems conclusive, and there is no reason to doubt that Professor Jack is correct. But what happened next? In originally drawing attention to the biographical significance of Cecil's letter, Professor Jack suggested that Montgomerie was guilty of piracy, and `the poet's imprisonment may well have resulted from this incident.' This view was supported by Helena Shire, who concluded that `it is highly .School of Critical Studies
The Glasgow Review Issue 1
Roderick J Lyall