There is, however, a distinct recognition of an English settlement farther
south. Cape Charles and Cape Henry appear at the entrance of Chesapeake
Bay. Virginia is inscribed in its proper place, while Jamestown and Point
Comfort are referred to by numbers.
On the borders of the map numerous fish belonging to these waters are figured, together with several vessels of different sizes and in different attitudes, thus preserving their form and structure at that period. The degrees of latitude and longitude are numerically indicated, which are convenient for the references found in Champlain's journals, but are necessarily too inaccurate to be otherwise useful. But notwithstanding its defects, when we take into account the limited means at his command, the difficulties which he had to encounter, the vast region which it covers, this map must be regarded as an extraordinary achievement. It is by far the most accurate in outline, and the most finished in detail, of any that had been attempted of this region anterior to this date.
THE PORTRAITS OF CHAMPLAIN.—Three engraved portraits of Champlain have come to our knowledge. All of them appear to have been after an original engraved portrait by Balthazar Moncornet. This artist was born in Rouen about 1615, and died not earlier than 1670. He practised his art in Paris, where he kept a shop for the sale of prints. Though not eminently distinguished as a skilful artist, he nevertheless left many works, particularly a great number of portraits. As he had not arrived at the age of manhood when Champlain died, his engraving of him was probably executed about fifteen or twenty years after that event. At that time Madame Champlain, his widow, was still living, as likewise many of Champlaln's intimate friends. From some of them it is probable Moncornet obtained a sketch or portrait, from which his engraving was made.
Of the portraits of Champlain which we have seen, we may mention first that in Laverdière's edition of his works. This is a half-length, with long, curling hair, moustache and imperial. The sleeves of the close-fitting coat are slashed, and around the neck is the broad linen collar of the period, fastened in front with cord and tassels. On the left, in the background, is the promontory of Quebec, with the representation of several turreted buildings both in the upper and lower town. On the border of the oval, which incloses the subject, is the legend, Moncornet Ex c. p. The engraving is coarsely executed, apparently on copper. It is alleged to have been taken from an original Moncornet in France. Our inquiries as to where the original then was, or in whose possession it then was or is now, have been unsuccessful. No original, when inquiries were made by Dr. Otis, a short time since, was found to exist in the department of prints in the Bibliothèque Nationale in Paris.
Another portrait of Champlain is found in Shea's translation of Charlevoix's History of New France. This was taken from the portrait of Champlain, which, with that of Cartier, Montcalm, Wolfe, and others, adorns the walls of the reception room of the Speaker of the House of Commons, in the Parliament House at Ottawa, in Canada, which was painted by Thomas Hamel, from a copy of Moncornet's engraving obtained in France by the late M. Faribault. From the costume and general features, it appears to be after the same as that contained in Laverdière's edition of Champlain's works, to which we have already referred. The artist has given it a youthful appearance, which suggests that the original sketch was made many years before Champlain's death. We are indebted to the politeness of Dr. Shea for the copies which accompany this work.
A third portrait of Champlain may be found in L'Histoire de France, par M. Guizot, Paris, 1876, Vol. v. p. 149. The inscription reads: "CHAMPLAIN [SAMUEL DE], d'après un portrait gravé par Moncornet." It is engraved on wood by E. Ronjat, and represents the subject in the advanced years of his life. In position, costume, and accessories it is widely different from the others, and Moncornet must have left more than one engraving of Champlain, or we must conclude that the modern artists have taken extraordinary liberties with their subject. The features are strong, spirited, and characteristic. A heliotype copy accompanies this volume.
PREFACE TO THE TRANSLATION.
The journals of Champlain, commonly called his Voyages, were written and published by him at intervals from 1603 to 1632. The first volume was printed in 1603, and entitled,—
1. Des Sauuages, ou, Voyage de Samuel Champlain, de Brouage, faict en la France Nouuelle, l'an mil six cens trois. A Paris, chez Claude de Monstr'oeil, tenant sa boutique en la Cour du Palais, au nom de Jesus. 1604. Auec privilege du Roy. 12mo. 4 preliminary leaves. Text 36 leaves. The title-page contains also a sub-title, enumerating in detail the subjects treated of in the work. Another copy with slight verbal changes has no date on the title-page, but in both the "privilège" is dated November 15, 1603. The copies which we have used are in the Library of Harvard College, and in that of Mrs. John Carter Brown, of Providence, R. I.
An English translation of this issue is contained in Purchas his
Pilgrimes. London, 1625, vol. iv., pp. 1605-1619.