Title: Our Artist in Cuba
Author: George Washington Carleton
Release date: February 19, 2011 [eBook #35332]
Language: English
Credits: Produced by Chuck Greif (from scanned images available at
the Internet Archive)
FIFTY DRAWINGS ON WOOD.
LEAVES FROM
THE SKETCH-BOOK OF A TRAVELER,
DURING THE WINTER OF 1864-5,
BY
GEO. W. CARLETON.
colophon
NEW YORK:
Carleton, Publisher, 413 Broadway.
London: S. Low, Son & Co.
MDCLXV.
Entered according to Act of Congress, in the year 1865, by
GEO. W. CARLETON,
In the Clerk's Office of the District Court of the United
States for the Southern District of New York.
| Click on any image to see
it enlarged. (note of etext transcriber.) |
| A PRELIMINARY WORD. | |
| NO. | |
| SICK TRANSIT | 1 |
| TWO BOOBIES | 2 |
| A COLORED HERCULES | 3 |
| THE CUBAN JEHU | 4 |
| IGLESIA DE SAN FRANCISCO | 5 |
| A CUBAN MOTIVE | 6 |
| AN INFLUENZA | 7 |
| FLEE FOR SHELTER | 8 |
| THE RIDE | 9 |
| A COCK-FIGHT | 10 |
| RATHER COOL | 11 |
| A SPANISH RETREAT | 12 |
| TAKE YOUR PICK | 13 |
| SPIDERS, RATS, AND COCKROACHES | 14 |
| BELLIGERENTS | 15 |
| MATERFAMILIAS ET FILIUS | 16 |
| A CULINARY DEPARTMENT | 17 |
| A BUNDLE OF CLOTHES | 18 |
| A BUTTON-SMASHER | 19 |
| WHITE PANTALOONS | 20 |
| A CARNIVAL ACQUAINTANCE | 21 |
| BEAUTY AT THE BALL | 22 |
| A DISAPPOINTMENT | 23 |
| DOLCE FAR NIENTE | 24 |
| LOCOMOTION | 25 |
| THE SPANISH TONGUE | 26 |
| AN UNWELCOME VISITOR | 27 |
| AN AGREEABLE BATH | 28 |
| A CELESTIAL MAID | 29 |
| A STATUE ON A BUST | 30 |
| A TAIL UNFOLDED | 31 |
| PUT MONEY IN THY PURSE | 32 |
| SUGAR AND WATER | 33 |
| GREEN FIELDS AND PASTURES NEW | 34 |
| A SEGAR WELL-LIGHTED | 35 |
| WHERE SHALL REST BE FOUND | 36 |
| ALL ABOARD | 37 |
| THE MATANZAS CAVE | 38 |
| A HARD ROAD TO TRAVEL | 39 |
| A SHADY RETREAT | 40 |
| A SPANISH GROCER | 41 |
| COLORED HELP | 42 |
| VERY MOORISH | 43 |
| CHACUN A SON GOUT | 44 |
| NATURE'S SWEET RESTORER | 45 |
| AGRICULTURAL | 46 |
| A COT IN THE VALLEY | 47 |
| A COLORED BEAUTY | 48 |
| CORNER STONES | 49 |
| A SUDDEN DEPARTURE | 50 |
WITH man the Artillery band in the Plaza des Armas—assisting with domino and false nose at the masquerades in the Tacon Theatre—lounging with ices or delicious chocolate at the Café Dominica—dallying with cigar and fragrant coffee, after the regulation breakfast of codfish, garlic, and onions—snuffing up the perfumed air, and strolling through the golden orange-groves of Cafetals—joining in the battle, murder, and sudden death of Marinao cock-fights—vagabondizing along the shady side of Calle Obispo—and so forth, through all the dulce far nientes of a stranger's drifting life, among the lights and shadows of the Antilles' Queen.
The only merit the pictures possess, perhaps, is their faithfulness to nature. Though chiefly caricatures, they represent such incidents and scenes as every one, with both eyes open, sees, who visits Cuba; and being sketched upon the spot, with all the crispy freshness of a first impression, they possess a sort of photographic value, that, in spite of their grotesqueness, may prove more lasting than the entertainment which their humor offers.
NEW YORK, April, 1865.
First day out.—The wind freshens up a trifle as we get outside Sandy Hook; but our artist says he is'nt sea-sick, for he never felt better in his life.
A "Booby"—as seen from the ship's deck.
A Booby—as seen on the ship's deck.
A side elevation of the colored gentleman who carried our luggage from the small boat to the Custom House.
The first volante driver that our artist saw in Havana.
The old Convent and Bell Tower of the Church of San Francisco,—now used as a Custom House.
A Cuban Cart and its Motive Power.—Ye patient Donkey.
Manners and Customs of a Cuban with a Cold in his Head.
PART I.—The beast in a torpid condition.
PART II.—When he "smells the blood of an Englishmun."
Manner and Custom of Harnessing ye Animiles to ye Cuban Volante.
I.—Chanticleer as he goes in.
II.—Chanticleer considerably "played out."
The cool and airy style in which they dress the rising colored generation of Havana.
Two ways of carrying it—behind the ear, and in the back-hair.
View of the Canal and Cocoa Tree; looking East from the Grotto.
Agitation of the Better-Half of Our Artist, upon entering her chamber and making their acquaintance.
A slight difference arises between the housekeeper's cat and the butcher's dog, who has just come out in his summer costume.
The Free Negro.—An every-day scene,-when the weather is fine.
Kitchen, chief-cook and bottle-washer in the establishment of Mrs. Franke, out on the "Cerro."
A portrait of the young lady, whose family (after considerable urging) consents to take in our washing.
Washing in Havana.—$4.00 a dozen in gold.
I.—My pantaloons as they went in. II.—My pantaloons as they came out.
A Masquerade at the Tacon Theatre.—Types of Costume, with a glimpse of the "Cuban Dance" in the background.
Our artist mixes in the giddy dance, and falls desperately in love with this sweet creature—— but
When the "sweet creature" unmasks, our Artist suddenly recovers from his fit of admiration. Alas! beauty is but mask deep.
The Cuban Wheelbarrow—In Repose.
The Cuban Wheelbarrow—In action.
Our Artist forms the praiseworthy determination of studying the Spanish language, and devotes three hours to the enterprise.
The Scorpion of Havana,—encountered in his native jungle.
Our Artist having prepared himself for a jolly plunge, inadvertently observes an insect peculiar to the water, and rather thinks he won't go in just now.
A cheerful Chinese Chambermaid (?) at the Fonda de Ingleterra, outside the walls.
A gay (but slightly mutilated) old plaster-of-Paris girl, that I found in one of the avenues of the Bishop's Garden, on the "Cerro."
A Cuban Planter going into town with his plunder.
| Our Artist just steps around the corner, to look at a "sweet thing in fans" that his wife has found. | RESULT! |
Our Artist indulges in a panale frio (a sort of lime-ade), at the Café Dominica, and gets so "set up," that he vows he won't go home till morning.
Our Artist, on an entomological expedition in the Bishop's Garden, is disagreeably surprised to find such sprightly specimens.
An English acquaintance of Our Artist wants a light for his paper segar; whereupon the waiter, according to custom, brings a live coal.
A midsummer's night dream.—Our Artist is just the least bit disturbed in his rest, and gently remonstrates.
A gay and festive Chinese brakeman, on the railroad near Guines.—The shirt-collar-and-pair-of-spurs style of costume.
The Great Cave near Matanzas.—Picturesque House over the Entrance.
A section of the interior—showing the comfortable manner in which our artist followed the guide, inspected the stalactites, and comported himself generally.
One of the Fortifications.—Sketched from the end of the Passeo, on a day hot enough to give anything but a donkey the brain fever.
A romantic little tienda mista (grocery store) on a corner, in the Calle Ona.
Our Artist becomes dumb with admiration, at the ingenious manner of toting little niggers.
A singular little bit, out of the Calle Manzana.
| Our Artist essays to drink the milk from a green Cocoa; | Fatal effect.—An uncomfortable sensation! |
First night at the "Gran Hotel Leon de Oro."—Our artist is accommodated with quarters on the ground-floor, convenient to the court-yard, and is lulled to sleep by a little domestic concert of cats, dogs, donkeys, parrots and game-cocks.
Showing the manner in which one ox accomplishes the labor of two, in San Felipe.
A Planter's Hut, and three scraggly Palm Trees in the dim distance.
A Colored Beauty toting Sugar Cane from the field to the grinding mill.
A conglomerate Esquiria, on the corner of Calle Obispo and Monserate.
Alarm of Our Artist and Wife, upon going to their room to pack, and discovering that a Tarantula has taken possession of their trunk.