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Longfellow-Evangeline State Historic Site
1200 N Main Street
St Martinville, LA
Henry Wadsworth Longfellow's 1847 epic poem Evangeline made people around the world more aware of the 1755 expulsion of the Acadians from Nova Scotia and their subsequent arrival in Louisiana.
The first Acadians to settle in Louisiana established themselves here, on the banks of Bayous Teche and Tortue, on the edges of this vacherie.
In the early 1800s, Pierre Olivier Duclozel de Vezin, a wealthy Creole, acquired this property to raise cotton, cattle, and eventually, sugarcane. He built the Maison Olivier, the circa 1815 plantation house which is the central feature of Longfellow-Evangeline SHS. His son, Charles, made improvements to the home in the 1840s. The structure is an excellent example of a Raised Creole Cottage, a simple and distinctive architectural form which shows a mixture of Creole, Caribbean, and French influences.
A reproduction Acadian Farmstead is situated along the bank of Bayou Teche. The Farmstead is an example of how a typical single-family farm would have appeared around 1800. The site includes the family home with an outdoor kitchen and bread oven, slave quarters and a barn. In the pasture located adjacent to the barn, there are cattle typical of those raised by the Creoles and Acadians at that time.
In 1934, the property became the first park of the Louisiana State Parks system. In 1974, Maison Olivier was designated a National Historic Landmark.
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Nicholson St., Abbotsford
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Photo credit: Pat Miller
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52 Weeks: 2025 Edition: Week 14: OutInTheStreets
www.youtube.com/watch?v=5o_umKOTXIs
Red geraniums viewed through a window blind on a sunny Andalusian patio
“Canyon Narrows Light” — Soft, filtered light illuminates the walls of a Death Valley slot canyon.
Desert canyon light is remarkable. Coming into such a canyon is a huge contrast with the world outside — the intense, harsh desert light gives way to soft, gentle light and shade. The temperature drops. The color of the ight changes, too. Deep in the canyon it often shifts to ward blue, especially when the canyon walls are black or gray. There are also changes and contrasts where different softs of light come together — as in this photograph where the deeply shaded blue tones contrast with the warmer tones of the higher walls.
I walked quickly to get to these narrows, but once I arrived I stopped, took out my tripod, attached my camera, and ambled slowly while watching for photographs. New possibilities appeared at every bend in the canyon, and my progress stalled to a near standstill as I stopped every few feet to look at a new composition.
G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” (Heyday Books) is available directly from him.
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