Much more complete is the pleasing memoir of N. C. Challeux (Challus, Challusius.)[32] He tells us in his dedicatory epistle that he was a native of Dieppe, a carpenter by trade, and over sixty years of age at the time of the expedition. In another passage he remarks, “Old man as I am, and all grey.”[33] He escaped with Laudonniére from Fort Caroline, and depicts the massacre and subsequent events with great truth and quaintness. He is somewhat of a poet, somewhat of a scholar, and not a little of a moralizer. At the beginning of the first edition are verses descriptive of his condition after his return, oppressed by poverty, bringing nought from his long rovings but “a beautiful white staff in his hand.” “The volume closes with another effusion of his muse, expressing the joy he felt at again beholding his beloved city of Dieppe.”[34] He is much given to diverging into prayers and pious reflections on the ups and downs of life, the value of contentment, and kindred subjects, seasoning his lucubrations with classical allusions. When Laudonniére was making up the complement of his expedition he did not forget to include a cunning limner, so that the pencil might aid the pen in describing the marvels of the New World he was about to visit. This artist, a native of Dieppe, Jacques le Moyne de Morgues by name, escaped at the massacre by the Spanish, returned with Laudonniére, and with him left the ship when it touched the coast of England. Removing to London he there married, and supported himself by his profession. During the leisure hours of his after years he sketched from memory many scenes from his voyage, adding in his native language a brief description of each, aiding his recollection by the published narratives of Challeux and Laudonniére, duly acknowledging his indebtedness.[35] These paintings were familiar to Hackluyt, who gives it as one reason for translating the collection of Basanier, that the exploits of the French, “and diver other things of chiefest importance are lively drawn in colours at your no smal charges by the skillful painter James Morgues, sometime living in the Blackfryers in London.”[36] When the enterprising engraver De Bry came to London in 1587, intent on collecting materials for his great work the _Peregrinationes_, he was much interested in these sketches, and at the death of the artist, which occurred about this time, obtained them from his widow with their accompanying manuscripts. They are forty-three in number, principally designed to illustrate the life and manners of the natives, and, with a map, make up the second part of De Bry’s collection. Each one is accompanied by a brief, well-written explanation in Latin, and at the close a general narrative of the expedition; together, they form a valuable addition to our knowledge of the aboriginal tribes and the proceedings of the Huguenots on the Riviére Mai.