1841 New Orleans color engraving. “New Orleans. – Taken from the Opposite Side a Short Distance above the Middle or Picayune Ferry.”
1841 New Orleans – The nation’s second city
I spent Sunday researching Krauss stuff, and came across an engraving that was used by an author writing about the Jewish community in New Orleans. It was a lovely scene of 1841 New Orleans, drawn from across the river in Algiers. Since some of the buildings on the other side of the river are fuzzy, I put the article up on the “Ain’t There No More” group on Facebook. It’s a great group of folks, who like to help out. I received a great response. My friend Carlos “Froggy” May came right back with a link to the Commons. It was a link to a color engraving of a similar scene.
So, it turns out that the black and white sketch I found was drawn by someone named A. Mondelli. Then the sketch was then turned into a color engraving by William J. Bennet, and published by Henry I. Megarey of New York.
Here’s Froggy’s entry in the Commons for this engraving:
View looking from Algiers (probably about where Mardi Gras World is now) looking across the Mississippi River. On river are a variety of sailing ships, steam ships, row-boats, and a flatboat. Across the river is the skyline of the “American Quarter” of New Orleans, with the dome of the first St. Charles Hotel prominent just left of center. The French Quarter to the right is mostly obscured by ships, but the towers of St. Louis Cathedral can be recognized behind ships’ rigging near the right edge. In the foreground along the river batture are seen, left to right: two men in top-hats and prosperous outfits of the time with a dog; a small group of African Americans (likely slaves), both men and women, working taking soil from the river edge and putting it in wheel-barrows (presumably building up the high-water levee a short distance inland); two white men in working garb seated on a log with barrels; two large metal anchors; and two men moving a small sailboat which is tied to a post on the bature (presumably either about to put it back in the water or almost finished dragging it on land).
The original sketch
the original A. Mondelli sketch
Here’s the original sketch. While the color engraving keeps the spirit of the orginal, I love that Mr. Bennett did not simply colorize the sketch. He let a bit of time lapse. Notice that the flatboat in the river is now past the domed building on the east bank. The artist stands a bit to the left, which reveals the robust shipping traffic along the river at this time.
New Orleans before the Civil War
This scene depicts typical river traffic from the antebellum period. Most coastal and trans-Atlantic ships still used wind power. We start to see larger steam-powered ships in the 1840s. New Orleans at this time was a bustling port, tying the South to Baltimore and New York City, as well as Havana and Europe. Ocean-going ships docked at New Orleans, then steamboats took the cargo from Europe into the center of the United States. The need to transfer cargo, first to riverboats, later to trains, was critical, and it’s why the Union took seriously the capture of the city at the beginning of the Civil War.
Such a fun rabbit hole to go down!
New Orleans Riverfront, 1840
While researching a document posted by LaRC on Facebook, I sort of went down a rabbit hole, and found this engraving of the New Orleans Riverfront. It’s a charming illustration from an article in the American Jewish Archives Journal. The caption in the article is “New Orleans, ca 1840.” The title of the article I pulled up is, Cotton, Capital, and Ethnic Networks: Jewish Economic Growth in the Postbellum Gulf South by Michael R. Cohen.
I’m sure others end up down these oooh-shiny rabbit holes as well. I started out looking at a bill of lading for bales of cotton and end up reading about a Jewish cotton factor who was a leader in the community. Any connection to the city’s Jewish community naturally leads me back to looking for connections to the Krauss family, for my book on their department store. One thing to another to another and I’m through the looking glass.
The New Orleans Riverfront, antebellum
Not that I’m complaining, mind you, this is a lovely little engraving. The illustrator is on the west bank of the river, looking back at the city. The spires are a bit indistinct. The one on the left could be St. Patrick’s. The number of churches visible indicates this is a view that is uptown from Canal Street. I’ll edit this post after I put it up on the ATNM group, to see if anyone can make more sense of those church spires than I.
The traffic on the river is a typical mix. on the left, heading downriver, is a small schooner. In the middle of the river (and the engraving) is a flatboat. He appears to be going upriver, but it’s more likely that the boat is trying to simply cross the river. The current would make it difficult for such a craft to travel far upriver, so the man on the tiller is likely trying to make his way from one side to the other. The main ship in the scene is a two-masted brig. This is a typical sort of ship you would see making coastal runs along the Gulf Coast, to Havana, and possibly up to Baltimore or New York. On the right side, we see several vessels at anchor on the west bank.
Sully illustration from 1836 of Faubourg Marigny
Marigny to Milneburg
From 1836, an illustration by G. W. Sully of the riverfront in Faubourg Marigny. You can see the station for the Pontchartrain Railroad on the left side of the illustration. The railroad was chartered in 1830, and began operations in 1831, so this was just five years into its existence. The purpose of the Pontchartrain Railroad was to connect the city, specifically, Faubourg Marigny, Faubourg Treme, and the French Quarter. Alexander Milne developed the area at what is now Elysian Fields Avenue and the lake into a port district, which became known as Milneburg. In addition to coming up the Mississippi River, much of the city’s ocean-going ship traffic came to New Orleans from the Gulf of Mexico, through the Chef Menteur Pass or the Rigolets Pass, into Lake Pontchartrain. Once in the lake, the larger ships were unable to go down Bayou St. John and the Carondelet Canal. Milneburg made it easier for the ships, since all they had to do was dock on the lakefront.
New Orleans’ First Railroad
The only catch was that the city was five miles away! The solution was simple, though, build a railroad. The planning/discussions for the railroad began in 1828. The first train, pulled by horses, left the station on April 14, 1831. Steam locomotives took over for animal power in June of 1832. This connection was a major path for commerce and goods up to the Civil War. After the war, as rail service to New Orleans began to expand, the Pontchartrain Railroad was acquired by larger rail concerns.
Sail to Steam
Notice that, in this illustration, the vessels are all powered by sail. That would change dramatically, as larger ships were constructed with steam engines and side paddlewheels, to speed up the journey from New Orleans to Havana, and various ports in along the American coast and Europe. These heavier ships were unable to use the passes into Lake Pontchartrain. This cut back on the shipping traffic docking at Milneburg, and the railroad no longer transported the goods it once did. Like many port areas, Milneburg became more of a recreational area than commercial, and the railroad then began to carry more passengers than goods. In the 1830s, though, it was all about commerce.
The Henry Frank at New Orleans
From Queen of the South, 1853-1862, the journal of Thomas K. Wharton. Captains of Mississippi riverboats overloaded their steamers, then bragged about it, as you can see here, The Henry Frank carries 9226 bales of cotton, arriving at New Orleans from upriver. Upon arrival at New Orleans, the riverboats were unloaded, and the cargo transferred to oceangoing vessels.
Cotton was exported from the Southern plantations to textile mills up the Atlantic coast, and to Great Britain. This is why “cotton was king” in New Orleans and across the South in the mid-19th Century. It’s the main crop that sustained the institution of slavery in the United States. The planters drove their slaves to pic the cotton and bale it for transport. The riverboat captains took great risks to get that valuable cargo to the second largest port in the country. Only New York was a larger port than the Crescent City. Steam power made Mississippi Riverboats an important part of commerce.
But here’s the catch with moving such large numbers of cotton bales–fire! That stuff burns! So many flammable goods came together on the Mississippi River levee at New Orleans. While the fires of the late 18th Century wiped out large portions of the city, the threat of fire didn’t go away just because the Spanish used brick and stone to rebuild. Wharton notes in his journal that there were many waterfront fires in the city. Still, King Cotton moved out to New England and Great Britain.
IPEVO document camera
I’ve been experiementing with this IPEVO document camera a bit. It’s going to be solid for lectures where I need to show a book, but as a copy camera, it’s a bit weak. I’m going to look at getting a document/book mount for my digital SLR for going up to UNO and exploring the Krauss archives. I haven’t assessed that stuff yet, but the archivist told me a lot of what they have is in scrapbooks. I’m not going to be able to get those onto a flatbed scanner, so I’ll come at it from the top!
Registraton Deadline TOMORROW, 5-July
This looks like a good seminar! In addition to the seminar, the Optional Activities also are excellent:
- Tour: An optional one and a half hour afternoon tour of the Whitney has been scheduled at a discounted rate of $15.
- How-to-Workshops: For those members who opt-out of the tour, various members of Le Comité will present workshops on topics including: Uploading Raw DNA to GedMatch, Finding Slave Ancestors on Louisiana Plantations, etc.
Pre-Registration is required as there’s limited seating. TOMORROW is the registration deadline, so you’ll want to move on this quickly if you’re interested. The Registration form (PDF) is here.
“Roses for Marie” by Edward Branley
The Voodoo that Marie Laveau do
Marie Laveau. This is an older photo, from before St. Louis Cemetery #1 was restricted to tours given by licensed tour guides. The “X” marks on the tomb offended one visitor so much a couple of years ago, they painted the tomb pink, thinking it was a help. Wrong kind of paint, though, which caused thousands of dollars to be spent on restoration. I hope people continue to leave the offerings and mementos, even if they don’t mark the tomb itself.
Glapion family tomb in St. Louis #1, 1930s (WPA photo in the public domain)
This WPA photo from the 1930s shows the tomb unmarked.
“Tomb of Marie Laveau”, 1970s, unknown photographer (State Office of Tourism, in the public domain)
The tradition of the “X” marks was in full swing by the 1970s, though, as can be seen in this tourism promotion photo.