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The Cabildo -- New Orleans' unique Spanish city government -- touched the life of every citizen of the city during its thirty-four years of existence, and its decisions often had an impact on the administration of Louisiana far beyond the confines of New Orleans itself. Moreover, its archival records, with lavish and detailed information about every aspect of life within Spanish New Orleans, are the richest of any city in the Spanish Borderlands. Yet curiously, until now there has been no thorough analysis of this influential institution.In The New Orleans Cabildo, Gilbert C. Din and John E. Harkins have filled that scholarly gap and made a significant contribution to our understanding of the Spanish hegemony in Louisiana. New Orleans, which had been a small, isolated, and insignificant town under the French grew to be a thriving center of trade, communications, and economic activity under Spanish rule. Din and Harkins examine the offices and personnel of the Cabildo and explore its vast responsibilities in the areas of justice, medicine and health, public works, land grants and building regulations, ceremonial and liaison duties, regulation of markets and food prices, and treatment of slaves and free blacks, among others. They also review the difficulties encountered by the Cabildo and the ways it responded to the city's -- and the colony's -- economic, legal, social, and military problems.Through careful and thoughtful utilization of documents from archives in Louisiana and Spain -- particularly minutes from the Cabildo meetings -- Din and Harkins have produced in The New Orleans Cabildo a model history of a complex and all-encompassing institution.
An essential reference guide to one of New Orleans’s most iconic Uptown neighborhoods, New Orleans Architecture: Volume IX documents the remarkable architectural history of the former city of Carrollton, once the seat of Jefferson Parish and now listed on the National Register of Historic Places. Following the format of previous volumes in the series, Robert J. Cangelosi Jr. divides the study into three sections. He begins in the early eighteenth century by chronicling the area’s development as one of the many upriver communities just west of New Orleans. Its fields and plantations afforded early homesteaders tillable farmland and easy access to the Mississippi River. Later, during the War of 1812, American troops led by William Carroll encamped there, and the area was subsequently named for the general. In 1831, developers purchased the land, subdivided it, and began construction of a road and a canal linking the area to New Orleans. Local officials reorganized Carrollton in 1845—by then a village of about 1,000 residents—as a town in Jefferson Parish, and in 1859 a charter officially incorporated it as a city. Just fifteen years later, the City of New Orleans annexed Carrollton—now replete with schools, public gardens, and brick-paved streets—as the Seventh Municipal District. The volume’s second section consists of a “Building Index,” which gives the original owners, dates of construction, costs, designers, and builders for many of the structures erected in Carrollton since its founding. In the “Selective Architectural Inventory,” the book’s final section, Cangelosi explores the history of nearly 420 historic homes and buildings in Carrollton, and shares thumbnail photographs, detailed sales records, and information on a variety of architectural styles. New Orleans Architecture: Volume IX serves as a valuable resource for the city’s Historic District Landmark Commission and the State Historic Preservation Office, as well as home owners, real estate agents, guides, historians, and tourists.
Today, eighteen Butterfly Man armoires (ca. 1815) are documented as having been made in the same New Orleans workshop. While their maker's identity remains a mystery, his cabinets represent the zenith of craftsmanship in early nineteenth-century Louisiana. In order to contextualize the Butterfly Man's story, this study explores the history and use of the armoire in Europe and Louisiana and considers early nineteenth-century cabinetmaking in New Orleans. Who were the early cabinetmakers and where were they from? What was their place in the social fabric of New Orleans? What were the Butterfly Man's influences and how do his armoires reflect them? Who might the Butterfly Man have been?Chasing the Butterfly Man: The Search for a Lost New Orleans Cabinetmaker, 1810-1825, written by New Orleans art historian Cybèle Gontar and published by the Louisiana Museum Foundation, is the first comprehensive exploration of this New Orleans cabinetmaker, his construction methods, and the on-going search for his identity.
Modern American Spiritualism blossomed in the 1850s and continued as a viable faith into the 1870s. Because of its diversity and openness to new cultures and religions, New Orleans provided fertile ground to nurture Spiritualism, and many séance circles flourished in the Creole Faubourgs of Tremé and Marigny as well as the American sector of the city. Melissa Daggett focuses on Le Cercle Harmonique, the francophone séance circle of Henry Louis Rey (1831-1894), a Creole of color who was a key civil rights activist, author, and Civil War and Reconstruction leader. His life has so far remained largely in the shadows of New Orleans history, partly due to a language barrier. Spiritualism in Nineteenth-Century New Orleans focuses on the turbulent years between the late antebellum period and the end of Reconstruction. Translating and interpreting numerous primary sources and one of the only surviving registers of séance proceedings, Daggett has opened a window into a fascinating life as well as a period of tumult and change. She provides unparalleled insights into the history of the Creoles of color and renders a better understanding of New Orleans's complex history. The author weaves an intriguing tale of the supernatural, of chaotic post-bellum politics, of transatlantic linkages, and of the personal triumphs and tragedies of Rey as a notable citizen and medium. Wonderful illustrations, reproductions of the original spiritual communications, and photographs, many of which have never before appeared in published form, accompany this study of Rey and his world.
For twenty years, starting in 1999, Jarvis DeBerry's New Orleans Times-Picayune column was the place where the city got its most honest look at itself: the good, the bad, the wonderful, and yes, also the weird. And the city took note. DeBerry's columns inspired letters to the editor, water cooler conversations, city council considerations, and barbershop pontification. I Feel To Believe collects his best columns, documenting two decades of constancy and upheaval, loss, racial injustice, and class strife. In a world of tradition in which lifelong New Orleanians hold strongly that one has to be us to truly see us, DeBerry arrived and began his journey. Generations from now, his readers will receive a deep look at the Crescent City before, during, and after Katrina. I Feel To Believe is all at once an accounting, a reckoning, a celebration.
This richly illustrated volume documents in detail the exhibition "New Orleans Music Observed: The Art of Noel Rockmore and Emilie Rhys" at the New Orleans Jazz Museum from January 30, 2020 to September 1, 2021, curated by the museum's own David Kunian and expanded upon in this book by Emilie Rhys (wearing several hats as contributing artist, contributing writer, co-editor, photo editor, layout designer, and publisher). Noel Rockmore, well-known in New Orleans for his mid-1960s oil portraits of Preservation Hall musicians, and his daughter Emilie Rhys, whose artwork of contemporary musicians all around town has gained her recent public notice, are brought together for their first joint exhibition in which a selection of their drawings and paintings is paired with a wide variety of artifacts and historic instruments, culled mostly from the Jazz Museum's incomparable archives. As the curator of this profusely illustrated book, Emilie Rhys not only provides a visual record of the exhibition, she expands upon it through the presentation of significant new material by several Louisiana natives who are close observers of the vibrant cultural life that makes New Orleans a veritable global magnet. They are novelist, journalist, and art collector John Ed Bradley; print and public radio journalist Gwen Thompkins; and scientist and art collector Myles Robichaux. For the lead chapter in this book, Bradley has written the first ever literary exploration of the intertwined lives of Rockmore and Rhys, "Picture in a Picture: Noel Rockmore and Emilie Rhys in New Orleans." In Chapter 3, Robichaux's original essay speaks to the profound impact on him of discovering Rockmore's art in 2002 and meeting Rhys in 2011. For Chapter 4, "Depiction/Being Depicted," Thompkins conducted interviews in 2020 with 14 musicians exploring their interest in visual art, their thoughts about the development of their own image, and how they feel about their image appearing in drawings, paintings, and photographs by visual artists. The book has 368 illustrations including 302 in full color, a large number of which have never been seen in public previously and have been selected by Rhys, many from her extensive personal archives.
A brief history for New Orleans' greatest admirers. This concise history of the Crescent City contains chapters covering the Mississippi River, the city's founding, European rule, and more, updated with expanded jazz and African American sections. It is a must for every library and home, and for those who love New Orleans and its rich history.
Published under the auspices of The Friends of the Cabildo, an auxiliary of the Louisiana State Museum.
The tale begins over three-hundred years ago, when the Fair People—the goblins, fairies, dragons, and other fabled and fantastic creatures of a dozen lands—fled the Old World for the New, seeking haven from the ways of Man. With them came their precious jewels: diamonds, rubies, emeralds, pearls... But then the Fair People vanished, taking with them their twelve fabulous treasures. And they remained hidden until now... Across North America, these twelve treasures, over ten-thousand dollars in precious jewels, are buried. The key to finding each can be found within the twelve full color paintings and verses of The Secret. Yet The Secret is much more than that. At long last, you can learn not only the whereabouts of the Fair People's treasure, but also the modern forms and hiding places of their descendants: the Toll Trolls, Maitre D'eamons, Elf Alphas, Tupperwerewolves, Freudian Sylphs, Culture Vultures, West Ghosts and other delightful creatures in the world around us. The Secret is a field guide to them all. Many "armchair treasure hunt" books have been published over the years, most notably Masquerade (1979) by British artist Kit Williams. Masquerade promised a jewel-encrusted golden hare to the first person to unravel the riddle that Williams cleverly hid in his art. In 1982, while everyone in Britain was still madly digging up hedgerows and pastures in search of the golden hare, The Secret: A Treasure Hunt was published in America. The previous year, author and publisher Byron Preiss had traveled to 12 locations in the continental U.S. (and possibly Canada) to secretly bury a dozen ceramic casques. Each casque contained a small key that could be redeemed for one of 12 jewels Preiss kept in a safe deposit box in New York. The key to finding the casques was to match one of 12 paintings to one of 12 poetic verses, solve the resulting riddle, and start digging. Since 1982, only two of the 12 casques have been recovered. The first was located in Grant Park, Chicago, in 1984 by a group of students. The second was unearthed in 2004 in Cleveland by two members of the Quest4Treasure forum. Preiss was killed in an auto accident in the summer of 2005, but the hunt for his casques continues.