"A Representation of a Royal Guinea Burial" (caption translation). This image likely represents the Kwanza north region. According to a summary of the Latin text, when a chief dies his closest friends want to ensure that he lacks for nothing in the next world; thus, they kill his family and servants and bury them in the chief's grave along with his weaponry. Dishes of food offerings are placed on the grave, and the heads of the slain servants are modelled out of clay and mounted on stands around the grave while one or two guards (shown on either side of the gravesite) watch over the site. For this image in particular, see pp. 136-38. The De Brys had never visited Africa and constructed their illustrations of Africans from late sixteenth century eye-witness accounts by the Dutchman Pieter de Marees of the Gold Coast in the Voltaic region, and by the Portuguese Duarte Lopez of the kingdom of Kongo in the Kwanza North region. For an extended discussion of the De Brys' illustrations of Africa and their sources, see Ernst van den Boogaart, De Brys' Africa, in Susanna Burghartz, ed., Inszenierte Welten: Die west-und ostindischen reisen der verleger de Bry, 1590-1630 [Staging New Worlds: De Brys' Illustrated Travel Reports, 1590-1630] (Basel, 2004), pp. 95-149.

"A Representation of Treason, by which a Foreign Woman Displays Herself Before the King of Cape Lopez of Gonzalez" (caption translation). Depicting the southern Bight of Biafra region. This image shows the king sitting on a chair/throne on a raised platform of two or three steps with a naked woman accused of treason prostrated before him. Nobles surround him and his council likely sit on a mat on the ground. In the background is a large canoe which holds sixty people, and the foreground shows women weaving mats or cooking bananas over a fire. For this image in particular, see pp. 142-43. The De Brys had never visited Africa and constructed their illustrations of Africans from late sixteenth century eye-witness accounts by the Dutchman Pieter de Marees of the Gold Coast in the Voltaic region, and by the Portuguese Duarte Lopez of the kingdom of Kongo in the Kwanza North region. For an extended discussion of the De Brys' illustrations of Africa and their sources, see Ernst van den Boogaart, De Brys' Africa, in Susanna Burghartz, ed., Inszenierte Welten: Die west-und ostindischen reisen der verleger de Bry, 1590-1630 [Staging New Worlds: De Brys' Illustrated Travel Reports, 1590-1630] (Basel, 2004), pp. 95-149.

"A Representation of Ceremonies, which Are Used to Bury Their Dead" (caption translation). Likely depicts the Voltaic region. This funeral ceremony features, from A to D: (A) the open grave with grave goods next to it, (B) corpse being carried to the grave with female mourners behind crying and wailing and other women in front playing various musical instruments and dancing, (C) after the grave has been filled in, women crawl about it wailing, and (D) washing in the sea after the funeral. For this image in particular, see pp. 136-37. The De Brys had never visited Africa and constructed their illustrations of Africans from late sixteenth century eye-witness accounts by the Dutchman Pieter de Marees of the Gold Coast in the Voltaic region, and by the Portuguese Duarte Lopez of the kingdom of Kongo in the Kwanza North region. For an extended discussion of the De Brys' illustrations of Africa and their sources, see Ernst van den Boogaart, De Brys' Africa, in Susanna Burghartz, ed., Inszenierte Welten: Die west-und ostindischen reisen der verleger de Bry, 1590-1630 [Staging New Worlds: De Brys' Illustrated Travel Reports, 1590-1630] (Basel, 2004), pp. 95-149. This illustration was used and modified in later publications; see, for example, image reference JCB_34352-10.

"A Sketch of a Feast, by which the Noblemen are Accustomed to Making" (caption translation). Likely depicts the Voltaic region. During this ceremony there is a great deal of dancing by the women, the men have fencing tournaments, and an ox, donated by the nobleman, is slaughtered. Nine features are indentified, from A to I, including: (A) the ox, (B) the newly elected nobleman carried on a chair litter, beneath his feet are two slaves, (G) warriors accompanying the nobleman. The De Brys had never visited Africa and constructed their illustrations of Africans from late sixteenth century eye-witness accounts by the Dutchman Pieter de Marees of the Gold Coast in the Voltaic region, and by the Portuguese Duarte Lopez of the kingdom of Kongo in the Kwanza North region. For an extended discussion of the De Brys' illustrations of Africa and their sources, see Ernst van den Boogaart, De Brys' Africa, in Susanna Burghartz, ed., Inszenierte Welten: Die west-und ostindischen reisen der verleger de Bry, 1590-1630 [Staging New Worlds: De Brys' Illustrated Travel Reports, 1590-1630] (Basel, 2004), pp. 95-149.

"A Representation of the Customary Process in Civil and Criminal Trials" (caption translation). Likely depicts the Voltaic region. Seven features were identified, labelled from A to G, including: (A) the king or chief listening to a case presented to him, (B) the beheading of a man who killed a Dutchman, (D) a woman drinking from a jug and swearing an oath to her husband that she had nothing to do with other men, (F) persons dissatisfied with the chief's verdict fight it out among themselves, (G) women mourning those who are condemned. The De Brys had never visited Africa and constructed their illustrations of Africans from late sixteenth century eye-witness accounts by the Dutchman Pieter de Marees of the Gold Coast in the Voltaic region, and by the Portuguese Duarte Lopez of the kingdom of Kongo in the Kwanza North region. For an extended discussion of the De Brys' illustrations of Africa and their sources, see Ernst van den Boogaart, De Brys' Africa, in Susanna Burghartz, ed., Inszenierte Welten: Die west-und ostindischen reisen der verleger de Bry, 1590-1630 [Staging New Worlds: De Brys' Illustrated Travel Reports, 1590-1630] (Basel, 2004), pp. 95-149.

"A Representation of a Famous Market in Cabo Corsso" (caption translation). Likely depicts the Voltaic region. Eighteen features, labelled from A to S, were identified in this illustration. They include: (A) the home of the chief, (D) farmers selling palm wine, (E) the chicken market, (K) sugar cane being sold, (O) Dutch visiting the market, (R) the road to Mina (Elmina). For this image in particular, see pp. 130-31. The De Brys had never visited Africa and constructed their illustrations of Africans from late sixteenth century eye-witness accounts by the Dutchman Pieter de Marees of the Gold Coast in the Voltaic region, and by the Portuguese Duarte Lopez of the kingdom of Kongo in the Kwanza North region. For an extended discussion of the De Brys' illustrations of Africa and their sources, see Ernst van den Boogaart, De Brys' Africa, in Susanna Burghartz, ed., Inszenierte Welten: Die west-und ostindischen reisen der verleger de Bry, 1590-1630 [Staging New Worlds: De Brys' Illustrated Travel Reports, 1590-1630] (Basel, 2004), pp. 95-149.

"A Representation of the Clothing, Used by Men at the Coast" (caption translation). Likely depicts the Voltaic region. In the foreground, from right to left, a typical gentleman wearing a hat and linen clothing; a merchant (batafou), with a dog skin hat and a rolled up cloth around his waist; an interpreter who accompanies farmers trading with [European] ships, wearing a small hat. The background portrays merchants after trading with German or Dutch ships; slaves carry the merchants' wares. For this image in particular, see pp. 119, 121, 124-25. The De Brys had never visited Africa and constructed their illustrations of Africans from late sixteenth century eye-witness accounts by the Dutchman Pieter de Marees of the Gold Coast in the Voltaic region, and by the Portuguese Duarte Lopez of the kingdom of Kongo in the Kwanza North region. For an extended discussion of the De Brys' illustrations of Africa and their sources, see Ernst van den Boogaart, De Brys' Africa, in Susanna Burghartz, ed., Inszenierte Welten: Die west-und ostindischen reisen der verleger de Bry, 1590-1630 [Staging New Worlds: De Brys' Illustrated Travel Reports, 1590-1630] (Basel, 2004), pp. 95-149.

"A Representation of a Certain Person of Nobility Producing Gold [and] Living on the Guinea Coast" (caption translation). Likely depicts the Voltaic region. In the foreground, three men are engaged in different activities: from right to left, a slave (akoba), a farmer (abaffra) and a pilot (aponfo) engaged with Europeans in the gold trade. In the background, two men carry a canoe to the water, while others bring palm wine to market. For this image in particular, see pp. 119, 120, 124-25. The De Brys had never visited Africa and constructed their illustrations of Africans from late sixteenth century eye-witness accounts by the Dutchman Pieter de Marees of the Gold Coast in the Voltaic region, and by the Portuguese Duarte Lopez of the kingdom of Kongo in the Kwanza North region. For an extended discussion of the De Brys' illustrations of Africa and their sources, see Ernst van den Boogaart, De Brys' Africa, in Susanna Burghartz, ed., Inszenierte Welten: Die west-und ostindischen reisen der verleger de Bry, 1590-1630 [Staging New Worlds: De Brys' Illustrated Travel Reports, 1590-1630] (Basel, 2004), pp. 95-149.

This coloured engraving shows a royal procession in kingdom of Asante in the Voltaic region. On the right, the Asantehene (king) was seated in a chair of ebony and gold under the state umbrella with an elephant on top. The flags of Britain, Holland and Denmark were to the right and left of the king's stool. The annual yam custom was a major ceremonial occasion in which the Asante pledged loyalty to their king and much tribute was given; during the period various crimes were not punished. The image shown here is the center portion of a large fold-out showing many details of this public yam ceremony. Thomas Edward Bowdich (1791–1824) was an English traveller and author in the African Company of Merchants. In 1814, through his uncle, J. Hope-Smith, governor of the British Gold Coast settlements, he was sent to Kumasi on a diplomacy mission to meet with the king of Asante during the Ashanti-Akim-Akwapim War of 1814–1816. Bowdich provided a detailed description of the ceremony, including this fold out illustration, in chapter 5. See image B018.

"Bambara Woman" (caption translation). Bambara (Bamana or Banmana) are a Mandé ethnic group throughout West Africa, mostly in the Senegambia and Central Savanna regions. Boilat explained that this woman was "named Sira, who requested him to draw her. She is sitting on a woven grass mat and is wearing an elaborate silk gown, her holiday dress. An ornate kerchief or head-tie of Madras cloth is tied around her head, and her jewelry consists of large gold earrings, and several bracelets and anklets, in addition to a long necklace which ends in little straw rings that have been made with great care. She is also shown with cicatrisation/scarification marks are on her cheeks" (p. 31). David Boilat (1814-1901) was one of the first Catholic priests in the Senegambia region. His father was French and his mother a Signare, which was a term from the eighteenth and nineteenth centuries used to describe a mixed-race, French-African woman. Boilat spoke Wolof and Serer; and made his drawings from life. The 24 plates based on these drawings are explained in an accompanying text. Boilat left Senegal around the age of 13, was educated in France and he returned to Senegal in 1842 where he lived for ten years working as a teacher. He returned to France where he completed his Esquisses sénégalaises in 1853. He also published a Wolof dictionary in 1858.

"Bambara Man" (caption translation). Bambara (Bamana or Banmana) are a Mandé ethnic group in the Senegambia and Central Savanna regions. Boilat explained how the subject of this portrait was the author's gardener, who "is wearing a typical Bambara hat made of straw, and has on Moroccan leather sandals; he carries a walking stick over his shoulder from which is dangling a basket with vegetables he is going to sell in the market; a knife is in his right hand. Although this man is shown with amulets (gris-gris) around his neck, the author points out that since the Bambara are not Muslims, these are simply ornaments and have no spiritual significance" (pp. 29-31). David Boilat (1814-1901) was one of the first Catholic priests in the Senegambia region. His father was French and his mother a Signare, which was a term from the eighteenth and nineteenth centuries used to describe a mixed-race, French-African woman. Boilat spoke Wolof and Serer; and made his drawings from life. The 24 plates based on these drawings are explained in an accompanying text. Boilat left Senegal around the age of 13, was educated in France and he returned to Senegal in 1842 where he lived for ten years working as a teacher. He returned to France where he completed his Esquisses sénégalaises in 1853. He also published a Wolof dictionary in 1858.

"Sarakole Woman" (caption translation). The Soninke (Sarakole, Seraculeh, Serahuli, among other variations) are from the Fuuta Jalon highlands in the Senegambia region. They speak Soninke, which is one of the Mande languages. Boilat described how this woman was "clothed in an elaborate indigo-dyed blue gown with turban or head-tie and a gauze veil (which she made herself), the woman is shown with an intricate long necklace of coral and enormous amber beads that hangs down to her chest. This outfit is worn on solemn occasions and the same type of dress, the author notes, is also found among the neighboring Toucouleur" (p. 29). David Boilat (1814-1901) was one of the first Catholic priests in the Senegambia region. His father was French and his mother a Signare, which was a term from the eighteenth and nineteenth centuries used to describe a mixed-race, French-African woman. Boilat spoke Wolof and Serer; and made his drawings from life. The 24 plates based on these drawings are explained in an accompanying text. Boilat left Senegal around the age of 13, was educated in France and he returned to Senegal in 1842 where he lived for ten years working as a teacher. He returned to France where he completed his Esquisses sénégalaises in 1853. He also published a Wolof dictionary in 1858.

"Sarakole Man" (caption translation). The Soninke (Sarakole, Seraculeh, Serahuli, among other variations) are from the Fuuta Jalon highlands in the Senegambia region. They speak Soninke, which is one of the Mande languages. In the image, Boilat described how "The man's robe is dyed blue with indigo and is embroidered on the front and the back with designs in colored silk; he is also wearing a very handsome woven belt. Two gris-gris [amulets] to protect him in war are worn over his chest. And in his hand he carries his chapelet, which, according to Boilat (a Catholic priest), is the muslim rosary composed of 100 beads, representing the 100 perfections of God. These people, he writes, pay great attention to their hair, and their hair styles are quite artistically accomplished" (pp. 28-29). David Boilat (1814-1901) was one of the first Catholic priests in the Senegambia region. His father was French and his mother a Signare, which was a term from the eighteenth and nineteenth centuries used to describe a mixed-race, French-African woman. Boilat spoke Wolof and Serer; and made his drawings from life. The 24 plates based on these drawings are explained in an accompanying text. Boilat left Senegal around the age of 13, was educated in France and he returned to Senegal in 1842 where he lived for ten years working as a teacher. He returned to France where he completed his Esquisses sénégalaises in 1853. He also published a Wolof dictionary in 1858.

"Tukulor, Chief Marabout of the Fula" (caption translation). The Tukulor people (Toucouleur, Haalpulaar, among other variations) are a West African ethnic group native from the Futa Tooro highlands of the Senegambia region. There are smaller communities in the Western Savanna region. According to Boilat, this chief marabout "is shown seated on a chair in front of his thatched roof house; the door is so low that one must bend over to enter. The man is wearing a cloth over his shoulder, while holding a key to his (storage) chest; his nafa (a small, flat leather purse or pouch used for carrying small goods, including money) is also hanging from his hand" (pp. 26-27). David Boilat (1814-1901) was one of the first Catholic priests in the Senegambia region. His father was French and his mother a Signare, which was a term from the eighteenth and nineteenth centuries used to describe a mixed-race, French-African woman. Boilat spoke Wolof and Serer; and made his drawings from life. The 24 plates based on these drawings are explained in an accompanying text. Boilat left Senegal around the age of 13, was educated in France and he returned to Senegal in 1842 where he lived for ten years working as a teacher. He returned to France where he completed his Esquisses sénégalaises in 1853. He also published a Wolof dictionary in 1858.

"Peule Woman" (caption translation). According to Boilat, "the woman is bare chested, with bead necklaces and copper jewelry on her arms/wrists and ankles; a riverside village with canoes is in the background. This woman is as dressed up as a Peule woman can be; but all of her jewels are of copper" (p. 26). David Boilat (1814-1901) was one of the first Catholic priests in the Senegambia region. His father was French and his mother a Signare, which was a term from the eighteenth and nineteenth centuries used to describe a mixed-race, French-African woman. Boilat spoke Wolof and Serer; and made his drawings from life. The 24 plates based on these drawings are explained in an accompanying text. Boilat left Senegal around the age of 13, was educated in France and he returned to Senegal in 1842 where he lived for ten years working as a teacher. He returned to France where he completed his Esquisses sénégalaises in 1853. He also published a Wolof dictionary in 1858.

"Peule Man" (caption translation). Peule, which is the French term for Fula, Fulbe, Fulani among other variations, are among the largest nomadic pastoral communities in the world. This image depicts a Peule man from the Senegambia region, but these cattle herders exist across West Africa, especially in the Eastern and Central Savanna regions. According to Boilat, "this Peule man is shown in his everyday dress. He is wearing a small blue cap, decorated with a plume of horsehair; his hair style includes a pomade of curdled milk/rennet (lait caille) or white cheese. Around his neck are amulets (gris-gris) serving various protective functions, and crossed over his chest are other gris-gris to ward off bullets; he is also wearing a grigri on his right arm, while ornamental copper bracelets are worn on his left arm and right ankle. Slung from his waist is coufa, a horn which contains powder, bullets, and smoking tobacco. A Peule, the author notes, never travels without his spear" (pp. 25-26). David Boilat (1814-1901) was one of the first Catholic priests in the Senegambia region. His father was French and his mother a Signare, which was a term from the eighteenth and nineteenth centuries used to describe a mixed-race, French-African woman. Boilat spoke Wolof and Serer; and made his drawings from life. The 24 plates based on these drawings are explained in an accompanying text. Boilat left Senegal around the age of 13, was educated in France and he returned to Senegal in 1842 where he lived for ten years working as a teacher. He returned to France where he completed his Esquisses sénégalaises in 1853. He also published a Wolof dictionary in 1858.

"Mandingo Marabout" (caption translation). A marabout is a Muslim religious leader and teacher. According to Boilat, "the marabout is shown doing one of his five daily prayers. The small vessel in the left-hand corner of the picture is a satala, containing water for washing himself before and after prayer" (Boilat, p. 17). The background shows the fort at St. Louis, flying the French flag in the Senegambia region. David Boilat (1814-1901) was one of the first Catholic priests in the Senegambia region. His father was French and his mother a Signare, which was a term from the eighteenth and nineteenth centuries used to describe a mixed-race, French-African woman. Boilat spoke Wolof and Serer; and made his drawings from life. The 24 plates based on these drawings are explained in an accompanying text. Boilat left Senegal around the age of 13, was educated in France and he returned to Senegal in 1842 where he lived for ten years working as a teacher. He returned to France where he completed his Esquisses sénégalaises in 1853. He also published a Wolof dictionary in 1858.

"Wolof Woman Carrying Her Child" (caption translation). The woman is shown with her infant strapped to her back, in typical African style. The author gives a lengthy description of how the infant is carried (p. 16). The woman wears bead jewelry and the child has an amulet around his neck. David Boilat (1814-1901) was one of the first Catholic priests in the Senegambia region. His father was French and his mother a Signare, which was a term from the eighteenth and nineteenth centuries used to describe a mixed-race, French-African woman. Boilat spoke Wolof and Serer; and made his drawings from life. The 24 plates based on these drawings are explained in an accompanying text. Boilat left Senegal around the age of 13, was educated in France and he returned to Senegal in 1842 where he lived for ten years working as a teacher. He returned to France where he completed his Esquisses sénégalaises in 1853. He also published a Wolof dictionary in 1858.

"Wolof Merchant" (caption translation). The man is shown in full and elaborate dress, carrying a walking stick and an amulet (gris-gris) around his neck. He is a "pagnes" merchant, which are long narrow strips of woven cotton. The merchant is carrying three samples of different types and prices; one is on his head and the other two on each shoulder. Boilat writes that "he encountered this man one day and requested permission to draw him which was readily given" (p. 15). David Boilat (1814-1901) was one of the first Catholic priests in the Senegambia region. His father was French and his mother a Signare, which was a term from the eighteenth and nineteenth centuries used to describe a mixed-race, French-African woman. Boilat spoke Wolof and Serer; and made his drawings from life. The 24 plates based on these drawings are explained in an accompanying text. Boilat left Senegal around the age of 13, was educated in France and he returned to Senegal in 1842 where he lived for ten years working as a teacher. He returned to France where he completed his Esquisses sénégalaises in 1853. He also published a Wolof dictionary in 1858.

"Mandingo Woman" (caption translation). According to Boilat, "The woman is shown in full dress, with leather or bead bracelets and anklets; a large calabash or pottery bowl is in the foreground. The woman is resting after having fetched water from a stream" (p. 14). In the background, there is the village of Toubabouka in the Senegambia region. David Boilat (1814-1901) was one of the first Catholic priests in the Senegambia region. His father was French and his mother a Signare, which was a term from the eighteenth and nineteenth centuries used to describe a mixed-race, French-African woman. Boilat spoke Wolof and Serer; and made his drawings from life. The 24 plates based on these drawings are explained in an accompanying text. Boilat left Senegal around the age of 13, was educated in France and he returned to Senegal in 1842 where he lived for ten years working as a teacher. He returned to France where he completed his Esquisses sénégalaises in 1853. He also published a Wolof dictionary in 1858.

"Tiédo" (caption translation). This image shows a tiédo (or cedo, among other spelling variations), who was a warrior from the Senegambia region. According to Boilat, "he is sitting on some rocks near the town of Bakel, which is in the background" (p. 12). The image depicts clothing styles for these soldiers. David Boilat (1814-1901) was one of the first Catholic priests in the Senegambia region. His father was French and his mother a Signare, which was a term from the eighteenth and nineteenth centuries used to describe a mixed-race, French-African woman. Boilat spoke Wolof and Serer; and made his drawings from life. The 24 plates based on these drawings are explained in an accompanying text. Boilat left Senegal around the age of 13, was educated in France and he returned to Senegal in 1842 where he lived for ten years working as a teacher. He returned to France where he completed his Esquisses sénégalaises in 1853. He also published a Wolof dictionary in 1858.

"Queen of the Walo, Wolof" (caption translation). This image shows Queen Ndaté Yalla Mbodje (1810–1860). She was the last great lingeer, or queen, of the Waalo, a kingdom located in the Senegambia region. David Boilat (1814-1901) was one of the first Catholic priests in the Senegambia region. His father was French and his mother a Signare, which was a term from the eighteenth and nineteenth centuries used to describe a mixed-race, French-African woman. Boilat spoke Wolof and Serer; and made his drawings from life. The 24 plates based on these drawings are explained in an accompanying text. Boilat left Senegal around the age of 13, was educated in France and he returned to Senegal in 1842 where he lived for ten years working as a teacher. He returned to France where he completed his Esquisses sénégalaises in 1853. He also published a Wolof dictionary in 1858.

"Husband of the Queen of Walo, Wolof" (caption translation). According to Boilat, "the Marosso or the Queen's husband, who was also the head general of the Walo army. He is in full regalia or formal attire, holding his rifle of honor and wearing various ornaments, including a bead necklace, earrings, anklets, and, on his left arm, an enormous silver bracelet, the emblem of his office" (Boilat, p. 9). Walo was a pre-colonial Wolof state. David Boilat (1814-1901) was one of the first Catholic priests in the Senegambia region. His father was French and his mother a Signare, which was a term from the eighteenth and nineteenth centuries used to describe a mixed-race, French-African woman. Boilat spoke Wolof and Serer; and made his drawings from life. The 24 plates based on these drawings are explained in an accompanying text. Boilat left Senegal around the age of 13, was educated in France and he returned to Senegal in 1842 where he lived for ten years working as a teacher. He returned to France where he completed his Esquisses sénégalaises in 1853. He also published a Wolof dictionary in 1858.

"Serer Man" (caption translation). According to Boilat, "the bearded man, a talented weaver, is shown with an earring and what appears to be an amulet (gris-gris) hanging from his neck. He belonged to the kingdom of Sine, one of the pre-colonial Wolof states" (pp. 7-8). David Boilat (1814-1901) was one of the first Catholic priests in the Senegambia region. His father was French and his mother a Signare, which was a term from the eighteenth and nineteenth centuries used to describe a mixed-race, French-African woman. Boilat spoke Wolof and Serer; and made his drawings from life. The 24 plates based on these drawings are explained in an accompanying text. Boilat left Senegal around the age of 13, was educated in France and he returned to Senegal in 1842 where he lived for ten years working as a teacher. He returned to France where he completed his Esquisses sénégalaises in 1853. He also published a Wolof dictionary in 1858.

A translation of the text in the image show "scenes of magic," "a priest speaking to the lion," "a spell of the priest," "a belt with sacred relics/objects," "iron handles" and "two horn-shaped amulets filled with ointment." The man was probably some type of diviner from the Kwanza North region. Antonio Cavazzi (b. 1621) was an Italian priest who from 1654 to 1667 joined the Capuchin mission in what is today northern Angola; after a visit to Europe, he returned to the Kingdom of Kongo, where he remained from 1672 to 1677. He died in Genoa in 1678. Cavazzi made this and other watercolors, the originals of which are in his manuscript, held in a private collection in Modena, Italy (see also Cavazzi for other images on this website). Bassani reproduces the full set of 33 watercolors of which only 8 are reproduced on this website. A microfilm copy of the manuscript is held by the Special Collections Department, University of Virginia Library. Cavazzi's drawings must be among the earliest known eyewitness sketches of African life by a European; they can be contrasted to, for example, the fanciful depictions found in Dapper or by the De Bry brothers (see, Dapper and De Bry on this website). Thanks to Joseph Miller for his assistance in interpreting this image.