Shows female nursemaid holding white baby. The individuals are not identified, but the place is the town of New Market, in the Shenandoah Valley of Virginia.

Caption, A lady going to visit. The Brazilian scholar, Gilberto Freyre writes: Within their hammocks and palanquins the gentry permitted themselves to be carried about by Negroes for whole days at a time, some of them travelling in this manner from one plantation to another, while others employed this mode of transport in the streets; when acquaintenances met, it was the custom to draw up alongside one another and hold a conversation (The Masters and the Slaves [New York, 1956], pp. 409-410, 428). (In the 2nd ed. [London, 1817], all images are in b/w.)

Water color on paper, the artist titled this drawing Extracting a jigger, scene in the Brazils. A black woman is shown extracting a chigger from the foot of a white man in what appears to be some sort of tavern; an earthenware pottery jug or jar (for water?) is in the left-hand corner. A tropical flea native to the Americas, the chigger (jigger, chigoe) was extremely troublesome to Europeans and Africans in many areas of the New World. Invading the skin through the feet or toes, they laid their eggs between the toes or under the nail, and if the egg sacs were not removed (by a simple technique); they could cause intense itching and pain. Chigger transmitted infections could result in festering sores and serious, sometimes incapacitating, lameness in the feet, and the chigger was often a pathfinder for tetanus and other infections. Earle, an English painter who travelled widely, lived in Rio from early 1820 to early 1824, with occasional trips to Chile and Peru during that period.

Caption, Domestic Life in South Carolina--from a sketch by our special artist. This illustration (which also shows the white children playing with a black child), the ILN article reports, represents the old Negro servants of the planter's family among his children . . . . The children of the [white] family grow up among the Negro domestic servants, and often learn to regard them with as much affection as they show their own parents (p. 552).

Caption: The Dandy Slave: A Scene in Baltimore, MD. According to the accompanying article, Whenever a negro can afford it, he dresses well, sometimes quietly and in good taste . . . . One rainy Sunday in Baltimore, our artist saw and sketched one of these dandy negroes escorting home from church his mistress. He was a slave, and this poor old faded woman owned him (p. 307). This man was apparently hired out by his owner and worked as a waiter on steam-boats or hotels; he was, of course, compelled to share his wages with the owner.

This image shows two domestic slaves carrying a European woman on a palanquin in Bahia, Brazil. Maria Graham (née Dundas; 1785–1842), also known as Maria Lady Callcott, was a British writer of travel and children's books, as well as an illustrator. She went to Brazil on her return to England from Chile in 1823, which is the year Brazil declared their independence from Portugal. She stayed at the royal palace. The Brazilian scholar, Gilberto Freyre described this mode of transportation as "within their hammocks and palanquins the gentry permitted themselves to be carried about by Negroes for whole days at a time, some of them travelling in this manner from one plantation to another, while others employed this mode of transport in the streets; when acquaintances met, it was the custom to draw up alongside one another and hold a conversation" (see The Masters and the Slaves (New York, 1956), p. 409-410, 428).

This image depicts two enslaved people transporting a merchant or planter in a covered hammock in Bahia, Brazil. On the right, another enslaved person carries the European's sword and an umbrella to shield him from the sun when he alights. Frézier described how the "rich people, even if it is inconvenient, hardly ever walk. They are always industrious in finding ways to distinguish themselves from other men. In America, as in Europe, they are ashamed to use the legs that nature has given us for walking. They are gently carried in beds of woven cotton, suspended at both ends on a large pole that two blacks carry on their heads or on their shoulders. And being hidden there so that the rain or ardor of the sun cannot make them uncomfortable, this bed is covered with a fringe of gold hanging from curtains that one can close when one wants. There, comfortably laying down, the head supported by a bolster of luxurious fabric, they are carried comfortably. . . These cotton hammocks are called Serpentin and are not Palanquins, as some travelers call them (p. 526). The Brazilian scholar, Gilberto Freyre, explained how "within their hammocks and palanquins the gentry permitted themselves to be carried about by Negroes for whole days at a time, some of them travelling in this manner from one plantation to another. . . Nearly all [the slaveholders] travelled by hammock" (Gilberto Freyre, The Masters and the Slaves (New York, 1956), p. 409-410, 428). The same illustration appears in the Paris edition of Frézier, but as a fold out spreading over two pages (1716). Amédée-François Frézier (1682–1773) was a French military engineer, mathematician, spy, and explorer. He was dispatched to South Americas to correct existing navigational charts and make exact plans of the most important ports and fortresses along the coast.

Ile de France refers to the island of Mauritius off the coast of Madagascar. This image shows four possible enslaved men carrying a palanquin or covered litter. On the right, a man is being shaved by a barber by the side of what appears to be a wood plank house. The palanquin was described in the list of plates as "a type of carriage/coach used by the rich [white] colonists of this country." This engraving, by Lerouge and Bernard, but based on a drawing by Jacques Arago, was published in an elaborate Atlas of 112 plates, some in color, based on drawings made by various artists during a French geographical expedition in the early nineteenth century. The expedition visited Rio in in Dec. 1817-Feb. 1818. The Atlas accompanies a multi-volume account of the expedition, and is sometimes cataloged under the authorship of Ministere de la Marine et des Colonies, rather than Freycinet, the commander of the expedition. Louis Claude de Saulces de Freycinet (1779–1841) was a French navigator, who circumnavigated the earth, and in 1811, published the first map to show a full outline of the coastline of Australia.

This oil painting shows several women washing clothes in a river, while a small child is playing by a riverside. The location is not given, but it is probably Dominica or St. Vincent. Agostino Brunias (1730–1796), also Brunyas, Brunais, was an Italian painter. He went to London in 1758 where he became acquainted with William Young, who was appointed to a high governmental post in West Indian territories acquired by Britain from France during the Seven Year’s War. In late 1764, Brunias accompanied Young to the Caribbean as his personal artist. Arriving in early 1765, Brunias stayed in the islands until around 1775, when he returned to England and exhibited some of his paintings. He returned to the West Indies in 1784 and remained there until his death on the island of Dominica in 1796. Although Brunias primarily resided in Dominica, he also spent time in St. Vincent and visited other islands, including Barbados, Grenada, St. Kitts and Tobago. See Lennox Honychurch, “Chatoyer's Artist: Agostino Brunias and the Depiction of St Vincent,” Journal of the Barbados Museum and Historical Society 50 (2004): p.104-128; Hans Huth, “Agostino Brunias, Romano,” The Connoisseur 51 (1962): p. 265-269. See image NW0150-a.

"A Young Negro Woman Slave, Carrying a Bouquet for a Party" (caption translation).This image shows an elaborately dressed domestic servant on the left and an elderly "missie" or mistress of a white man walking with a cane and wearing a head tie under her straw hat on the right. Pierre Jacques Benoit (1782-1854) was a Belgian artist, who visited the Dutch colony of Suriname on his own initiative for several months in 1831. He stayed in Paramaribo, but visited plantations, maroon communities and indigenous villages inland.

"A Missie, Taking her Child to the Baptism, Followed and Preceded by Two Young Slaves" (caption translation). This engraving shows a well-dressed woman carrying an umbrella in the company of two enslaved girls. A "missie" is a common-law wife or mistress of a white man, usually a free woman of color. Benoit described how the "missie," which is a mistress of a white man and usually a free woman of color, "is taking her child to be baptized, accompanied by two slaves - one carries the infant, the other a bible." Pierre Jacques Benoit (1782-1854) was a Belgian artist, who visited the Dutch colony of Suriname on his own initiative for several months in 1831. He stayed in Paramaribo, but visited plantations, maroon communities and indigenous villages inland.

"Planters Are Going to a Neighbouring Pantation" (caption translation). The engraving shows a planter accompanied by two slaves going to a nearby plantation. Benoit explained that "planters who visit from one plantation to another have themselves followed and preceded by two slaves who carry their provisions and arms." The slaves carry cutlasses and one carries the planter's rifle. Pierre Jacques Benoit (1782-1854) was a Belgian artist, who visited the Dutch colony of Suriname on his own initiative for several months in 1831. He stayed in Paramaribo, but visited plantations, maroon communities and indigenous villages inland.

"Negroe Women Occupied by Washing Laundry" (caption translation). Three women washing clothes at a tub (left), and two others, one carrying her infant on her back, ironing (right). Benoit described how "the washerwomen are almost always black, and they achieve a degree of perfection that is rarely surpassed elsewhere" (p. 22). Pierre Jacques Benoit (1782-1854) was a Belgian artist, who visited the Dutch colony of Suriname on his own initiative for several months in 1831. He stayed in Paramaribo, but visited plantations, maroon communities and indigenous villages inland.

"Some Quality People Taking Themselves to Church" (caption translation). This engraving shows a white man and woman dressed in fine clothes being followed by several enslaved people. Benoit explained that "on Sundays and holidays, rich planters and businessmen go to church with their families, and are sometimes followed by five or six slaves" (p. 23). Pierre Jacques Benoit (1782-1854) was a Belgian artist, who visited the Dutch colony of Suriname on his own initiative for several months in 1831. He stayed in Paramaribo, but visited plantations, maroon communities and indigenous villages inland.

"Kitchen Interior" (caption translation). This engraving shows a man pounding a mortar, while a woman sits in front of a fire. Benoit described how "the kitchen is located about 15 or 20 steps behind the master's house, and is furnished with all the necessary utensils as well as an oven to bake bread" (p. 30). Pierre Jacques Benoit (1782-1854) was a Belgian artist, who visited the Dutch colony of Suriname on his own initiative for several months in 1831. He stayed in Paramaribo, but visited plantations, maroon communities and indigenous villages inland.

"Entrance to the Military Promenade (Havana)" (caption translation). This engraving shows liveried figures of black coachman standing by a carriage, another leading a second carriage and a black man and woman on the Paseo Militar, also known as Paseo del Prado. This promenade was outside the old city walls on the dividing line between Central and Old Havana. José María de Andueza (1809-1865) was a journalist and writer of romantic historical novels. He visited Havana and Cuba’s western provinces in 1825 and 1830. This illustration was made by Frédéric Mialhe (1810-c. 1861), also Federico Mialhe, who was a French landscape painter and draughtsman. He went to Cuba on by invitation of the Real Sociedad Patriótica. He designed three sets of lithographs from 1838 to 1854. The publisher, Bernardo May, claimed ownership of this image and sold them under his own name. For a discussion on the image see Emilio Cueto, Mialhe's Colonial Cuba (Miami: The Historical Association of Southern Florida, 1994), p. 33-34.

"Gates of Monserrate" (caption translation). This lithograph shows one of the main gates into the walled city of Havana. There are horse-drawn carriages (quitrín) being driven by liveried coachmen. The illustration shown here is based on, and is slightly different from, a picture by the same title by the French artist Frédéric Mialhe (1810-c. 1861), also Federico Mialhe, who was a French landscape painter and draughtsman. He went to Cuba on by invitation of the Real Sociedad Patriótica. He designed three sets of lithographs from 1838 to 1854. The publisher, Bernardo May, claimed ownership of this image and sold them under his own name. For a discussion on the image see Emilio Cueto, Mialhe's Colonial Cuba (Miami: The Historical Association of Southern Florida, 1994), p. 84, 86, 87. For a description of the quitrín, see image LCP-15.

"Trap" (caption translation). This lithograph shows a horse trap or carriage driven by a black man in a top hat transporting two well-dressed white women in Havana. Frédéric Mialhe (1810-c. 1861), also Federico Mialhe, who was a French landscape painter and draughtsman. He went to Cuba by invitation of the Real Sociedad Patriótica. He designed three sets of lithographs showing Cuba from 1838 to 1854. The publisher, Bernardo May, claimed ownership of this image and sold them under his own name. See image LCP-15.

Caption,

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Travelling through Amherst County in Central Virginia, the author reported "on an elderly male household servant, Billy who polished his boots, and provided his opinions on how the manufacture of boots had changed since his youth" (pp. 177-179). David Hunter Strother (1816–1888) was a successful magazine illustrator and writer, popularly known by his pseudonym, "Porte Crayon." He rose through the ranks of the union army to Brevet Brigadier General. For Virginia Illustrated, he wrote and illustrated “Adventures of Porte Crayon and His Cousins,” which was a narrative of the experiences of several travelers through central Virginia in late 1853. The series then appeared in five parts in Harpers New Monthly Magazine between 1854 and 1856. See Cecil Eby, Porte Crayon: The Life of David Hunter Strother (Chapel Hill, 1960); and also images HARP01 and HARP03.

For this image, the author described stopping for a meal at a house in Amherst County, Central Virginia, whereby “the cook belongs to the type of a class whose skill is not of books or training, but a gift both rich and rare. . . who has grown sleek and fat on the steam of her own genius, whose children have the first dip in all gravies, the exclusive right to all livers and gizzards, not to mention breasts of fried chickens” (p. 176). David Hunter Strother (1816–1888) was a successful magazine illustrator and writer, popularly known by his pseudonym, "Porte Crayon." He rose through the ranks of the union army to Brevet Brigadier General. For Virginia Illustrated, he wrote and illustrated “Adventures of Porte Crayon and His Cousins,” which was a narrative of the experiences of several travelers through central Virginia in late 1853. The series then appeared in five parts in Harpers New Monthly Magazine between 1854 and 1856. See Cecil Eby, Porte Crayon: The Life of David Hunter Strother (Chapel Hill, 1960); and also images HARP02 and HARP03.

Caption, A Spanish planter in Porto Rico, luxuriating in his hammock. Waller, a surgeon in the British Navy, briefly visited Puerto Rico in May 1808.

Painting by Edward Savage, 1796. The image shown here is a (mistakenly) reversed image of the original, in which G.W. appears on the left (see, for example, the b/w reproduction published in Hugh Honour, The Image of the Black in Western Art [Menil Foundation, Harvard University Press, 1989], vol. 4, pt. 1, p. 47, fig. 13). The black servant shown in the upper left hand corner (on the right in the original painting) is usually identified as William (Billy) Lee, G.W.'s valet and favorite slave, but some scholars have speculated that he may be, in fact, Christopher Sheels, who served in that capacity after Lee became crippled in the 1780s. There is no documented likeness of William Lee so that any identification is conjectural (Sidney Kaplan, The Black Presence in the Era of the American Revolution, 1770-1800 [New York Graphic Society, 1973, pp. 218-19], pp. 33, 35).

Caption, un employé du govern't sortant de chez lui avec sa famille (a government employee leaving his house with his family); note house slaves at the rear of this procession. The engravings in this book were taken from drawings made by Debret during his residence in Brazil from 1816 to 1831. For watercolors by Debret of scenes in Brazil, some of which were incorporated into his Voyage Pittoresque, see Jean Baptiste Debret, Viagem Pitoresca e Historica ao Brasil (Editora Itatiaia Limitada, Editora da Universidade de Sao Paulo, 1989; a reprint of the 1954 Paris edition, edited by R. De Castro Maya).