After he returned to Europe in 1893, he began working on Noa Noa (Tahitian for "fragrance"), a book project based on his Tahitian experience and illustrated with woodcuts that were meant to make his new art more understandable to his contemporaries. Although never realized in their intended form, both the text and the ten woodcuts for Noa Noa survive among Gauguin's seventy-eight printed compositions in woodcut, etching, and lithography. The Noa Noa woodcuts illustrate everything that drew Gauguin to printmaking. Although woodcutting had seen a modest revival in the nineteenth century, no example matched the audacity of Gauguin's approach to the medium, which allowed him to work on a natural, "primitive" matrix, creating works that combined the sculptural gouging of his carved wood low reliefs with the evocative color of his paintings. It also provided seemingly endless opportunity for experimentation. Gauguin printed Noa Noa blocks with various inkings and color combinations, on different papers, and sometimes slightly off-register to create a blurred, dreamlike image, as in The Gods. In addition to the Noa Noa woodcuts printed by the artist, impressions were also pulled by the professional printer Louis Roy during the artist's lifetime; others were produced posthumously by Gauguin's son, Pola."