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Index
David Bindman (Editor), Henry Louis Gates Jr. (Editor)
Description: The Image of the Black in Western Art, Volume IV: From the American Revolution to...
The Image of the Black in Western Art, Volume IV: From the American Revolution to World War I, Part 1: Slaves and Liberators
Index
Author
David Bindman (Editor), Henry Louis Gates Jr. (Editor)
PublisherHarvard University Press
Copyright© 1989 by Menil Foundation, Inc.
https://doi.org/10.37862/aaeportal.00143.013
Stable URL: https://aaeportal.com/?id=-17377
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Index
Page numbers in italics indicate illustrations. Page numbers in parentheses indicate details of illustrations.
 
abject image, 29, 30–31, 56, 87, 261
overview, 10, 72, 222. See also stereotypic characteristics; supplicating gesture
abolition: overview, xix, 271, 272, 275–78, 280
Brazil and, 113–15, 116–21, 117, 120–21, 123
Danish West Indies and, 56–58, 58–59, 62, 277
Denmark and, 56–58, 58–59, 62, 277
Enlightenment and, 29, 30, 30–31, 34, 56, 87, 261
historical events and, 1, 2
Sweden and, 54, 54–55, 56. See also abolition in England; abolition in France; abolition in U.S.; abolition of slave trade; black abolitionists in U.S.; slaves/slavery; slave trade; symbol of abolition; white abolitionists in U.S.
abolition in England: overview, 113
broken chains and, 142–43, 142–43, 265
caricatures and, 3, 53–54, 54
commemoration of whites’ victories in West Africa and, 246, 248, 248
dress and, 3, (48–49), 50–54, 107, 142–43, 142–43, 265
freedmen and, 140–41, 140–41, 143, 220
historical events and, 1, 2
kneeling image and, 53–54, 54, 107, 108–9, 142–43, 142–43, 265
nude/half-naked image and, (48–49), 50–53, 107
rebellions by slaves and, 68–69, 70–71, 71, 107
slave trade and, 1, 73, 74–75, 112–13, 124–25, 124–27, 130, 136, 173, 182, 274, 277
symbol of, 53–54, 54, 107, 108–9
symbol of Middle Passage and, 45, 46–47, 47, 50, 106, 121
whites’ benevolence/blacks’ gratitude and, 142–43, 143, 265. See also abolition
abolition in France: overview, 50, 53, 113, 275–76
chains and, 106, 121, 126–27
Christian context for blacks and, 104–5, 105–7, 108–9
kneeling image and, 81, 138–39, 139–40, 220, 223, 225
slave trade and, 97–98, 101–2, 106, 112–13, 121, 126–27, 277
social status and, 158, 159–61, 160
symbol in Greek emancipation and, 109, 110–13, 111–13
symbol of, 1, 41–45, 42, 58–59, 62–63, 78, 79, 80, 87, 276
white abolitionists and, 81, 138–39, 139–40, 220, 223, 225
whites’ benevolence/blacks’ gratitude and, 81, 138–39, 139–40, 220, 223, 225
women’s rights and, 62, 62–63, 64. See also abolition
abolition in U.S.: overview, 276, 277
allegory of Liberty and, 29, 30–31, 56, 87, 261
black abolitionists and, 132, 134–35, 134–35, 277
children and, 4, 4–5, 172, 217, 272
family sanctity and, 176–77, 177
realism imagery of slave auction and, 173–77, 174–75
slave trade and, 113, 277
symbol of, 1, 41–45, 42, 58–59, 78, 79, 80, 87, 276
Uncle Tom characteristics and, 3, 7, 172, 212, 228–29, 228–30, 272
whites’ reception of blacks’ gratitude, 230–31, 231–32. See also abolition; emancipation in U.S.; portraits of freedmen in U.S.
abolition of slave trade: overview, 1, 75, 277
allegories and, 75, 76, (76–77), 78
England and, 1, 73, 74–75, 112–13, 124–25, 124–27, 130, 136, 173, 182, 274, 277
France and, 97–98, 101–2, 106, 112–13, 121, 126–27, 277
kneeling image and, 74–75, 75
mulattoes and, 176–77, 177
printing press and, 81, 138–39, 139–40, 220, 223, 225
U.S. and, 1, 113, 176–77, 177, 277
Abyssinia/Abyssinians, 3, 4. See also Ethiopia/Ethiopians
actors/theater performers, xii, 7–8, 8, 95, 95–96
Adoration of the Magi narrative. See Magus/Magi narrative
aesthetic/unaesthetic image: overview, 6, 278
allegory of Africa and, 223, (224–25), 225, 225
emancipation and colonial French policies and, 145, 146–47, (147), 170
emancipation in U.S. and, 207–8, 208–9
floggings in public and, 128, 128–29, 277
freedmen and, 128, 128–29, 130, (130–31)
nude/half-naked image and, 128, 128–29, 130, (130–31)
runaways and, 192, 192–93, 194, 236
slave auctions and, 174–77, 175
South Africans and, 252, 254–55. See also black-white contrast; stereotypic features
Africa/Africans: overview, 11–12, 280
benighted, 225–26, 226, (226–27), 228, 241–43, 242–45, 245–46, 248, 248
black skin color and, xi–xii, xxii
central, xii, xviii, 256–57, 259, 260
Europeans’ knowledge about, xxiv
explorers’ lives in, 241–43, 242–45, 245
freedmen’s relocation to, 78, 78–79, 80, 92, 255
memorials to British empire, and lives of, 241–43, 242–45, 245
pacification of, 256, 258
slave trade by, 80, 80
stereotypic features and, xxii. See also allegory of Africa; colonial Africa; New Testament; North Africa/Africans; west Africa/Africans; specific A frican nations
African conversion narrative, xviii. See also baptism; evangelization; missionaries in Africa
Alfonso VIII (king of Spain), 248
Algeria, 161, 217, 223, 279. See also North Africa/Africans
allegories: abolition of slave trade and, 75, 76, (76–77), 78
of Britain, 78, 78–79
chains and, 29, 30–31, 34–35, 35, 56, 64, 87, 172, 261
of Charity, 143, 144–45
children and, 143, 144–45
of Commerce, 59–60, 60–61, 112
Enlightenment and, 34–35, 35, 64, 172
of France, 59, 60
of Justice, 142–43, 142–43, 265
kneeling image and, 59, 60
of Nature, 34–35, 35, 64, 172
of Peace, 75, 76, (76–77), 78
sword and, 34–35, 35, 64, 172. Sec also allegory of Africa; allegory of continents; allegory of Liberty
allegory of Africa: overview, xi–xii
aesthetic/unaesthetic image and, 223, (224–25), 225, 225
as black, xi–xii
broken chains and, 223, (224–25), 225–26, 225–26, (226–27), 228, 242
chains and, 152–53, 153, (154–55)
children and, 138–39, 139–40
exoticism and, 152–53, 153, (154–55), 245–46, 247
as female, 223, (224–25), 225–26, 225–26, (226–27), 228, 242
as male, 75, 76, (76–77), 78, 81, 138–39, 139–40, 152–53, 153, (154–55), 245–46, 247
nude/half-naked image and, 225–26, 226, (226–27), 228, 242
white superiority and, 138–39, 139–40. See also Africa/Africans; allegories; allegory of continents
allegory of continents: American Indians and, 223, (224–25), 225, 225
Chinese and, 223, (224–25), 225, 225
Europeans and, 223, (224–25), 225, 225
nude/half-naked image and, 223, (224–25), 225, 225
placement in artworks and, 223, (224–25), 225, 225
predominance of Europe and, 81, 139–40, 151, 152, 220, 223, 225. See also allegories; allegory of Africa
allegory of Liberty: abolition in U.S. and, 29, 30–31, 56, 87, 261
abolition of slave trade and, 75, 76, (76–77), 78
broken chains and, 29, 30–31, 56, 87, 261
emancipation and colonial French policies and, 145, 145
memorials to heroes of emancipation in U.S. and, 209, 211–12, 213
placement in artworks and, 29, 30–31, 56, 87, 261. See also allegories
American Indians, 4, 214, 215, 223, (224–25), 225, 225, 256. See also United States
American Revolution, 15, 24–25, 24–25, 78, 78–79, 271. See also Civil War; United States
Americas. See Brazil, and slaves; South America/Americans, and rebellions by slaves; United States
Andromeda (princess of Ethiopia), xvi
Anonymous, Portrait of Ira Aldridge in Role of Othello, 95, 95–96
Ansdell, Richard, Hunted Slaves, 180–81, 180–81
antislavery images. See abolition
Antonio Manuel, Marquis of Ne Vunda (ambassador from Kongo), xviii
Antrobus, John, A Plantation Burial, 183–84, 184–85
apocalypse theme, and emancipation in U.S., 200–201, 200–202
Arabs, xvi–xvii. See also Muslims/Islam
armorial bearings: shield and, 56, 56–57, 111–13, 112–13
sword and, 34–35, 35, 64, 172, 246, 248, 248
art/artworks: overview, ix, xi, xiii, 9–10, 273, 275
black artists and, xiii, xix, 4–5, 4–5, 172
brutality/refinement disparity in, 33–34, 33–35
mulatto artists and, 4–5, 172, 275
social status and, ix
white artists and, ix, xiii, xix. See also aesthetic/unaesthetic image; placement in artworks; specific artists
Atlantic triangle, 11–12, 12–13, 16–17, 18–19, 19, 31–32. See also colonial West Indies; Middle Passage; slaves/slavery; slave trade
attendant/servant. See servant/attendant
auctions for slaves in U.S., 174–77, 175–76, 217, 219, 219. See also black Americans; commerce; slaves/slavery; slave trade; United States
 
Ball, Thomas, Emancipation, 3, 7, 212, 228–29, 228–30
baptism: overview, ix, xviii
colonial West Indies and, 37, 40–41
dress and, 164, 165, 166, 166
emancipation and colonial French policies and, 160–61, (162–63), 164
eunuch of Ethiopia’s baptism and, 160–61, (162–63), 164
Germany and, 164, 165, 166, 166
historical events and, 160–61, (162–63), 164, 165, 166
Jews and, 166, 166
missionaries in Africa and, 166, 166
nude/half-naked image and, 166, 166
Orientalism and, 161, (162–63)
of slaves in Brazil, 114–15, 116–17
studies of models and, 160–61, (163)
supplicating gesture and, 161, 164. See also Catholicism; Christianity; evangelization; salvation; universalism
Barker, Thomas Jones, Queen Victoria 245–46, 247
Barrias, Louis-Ernest, 232, 232–33, (232–33)
Bartolozzi, John Francesco, 65, 65–66
Belgium’s colonial policies, 257, 259, 260
Belisario, Isaac Mendes, Sketches of Character…. 7–8, 8
Benedict of Palermo (saint), 104–5, 105
benevolence of whites/gratitude of blacks. See whites’ benevolence/blacks’ gratitude
benighted Africans, 225–26, 226, (226–27), 228, 241–43, 242–45, 245–46, 248, 248. See also memorials to British empire; memorials to empires; memorials to French empire
Biard, Auguste-François: Proclamation de la liberté …, 145, 146–47, (147), 170
The Slave Trade, 124–25, 124–27, 130, 136, 138, 173, 182, 274
Bible, xv–xvi, xvii, 167–70, 168–69, 197–98, 199. See also specific names and narratives
Billings, Hammatt, 173–74, 174–75
Bissell, George, Lincoln Monument, 230–31, 230–32
black abolitionists in U.S.: memorials to emancipation and, 234–35, 236–37, (237)
portraits of freedmen and, 87, 88–89, 89, 132, 132–33
rebellions of slaves and, 134–35, 134–35. See also abolition in U.S.; black Americans; semancipation in U.S.; white abolitionists in U.S.
black Americans: overview, 182–83
Europeans’ vision of, 10, 19, 20, (20–21), 21–26, 22–23, (24), 26–29, 28–29, 97
genre scenes of, 184–88, 185
Magus narrative and, 184–88, 185
plantation burial observations and, 183–84, 184–85
as symbol of emancipation, 188–89, 189, 191
as travelers to Europe, 12, 12–13, 16–17, 18–19, 19. See also auctions for slaves in U.S.; black abolitionists in U.S.
black/dark skin color, xi–xii, xv–xvi, 143, 144–45, 253, 254–55, 255. See also skin color
black image in Western art, viii–ix, xi, xiii–xv, 273, 280
blackness, xii, xv–xvi, xix, 14, 68, 69, 272, 275
blacks: overview, xvii–xix
use of term, xiii–xiv
artistic production, and effects on, vii–x
as artists, 4–5, 4–5, 172
definition of, xiv–xv, 274–75
as executioners, 117, 118–19
freedom and, viii, xviii
history of, 2–4, 7
humility of, 158, 158–61, 160
identities of, 5–6, 7, 8–9, 9, 12, 12–13
Muslims and, xvii
Old Testament and, xv–xvi
slaves as synonym for, 30, 271–72
whites’ reception of gratitude of, 230–31, 231–32. See also black abolitionists in U.S.; black Americans; blacks’ place in white society; black-white contrast; black-white relations; whites’ benevolence/blacks’ gratitude; whites’ paternalism/blacks’ gratitude
blacks’ place in white society: France and, 82, 82–83, 84, 87, 107, 109, 109, 150–51, 150–51
freedmen in U.S. and, 6–7, 7, 197–98, 199
memorials to French empire and, 232, 234, 234. See also black-white relations; social status/hierarchy
black-white contrast: overview, xiv–xv
allegory of Nature and, 34–35, 35, 64, 172
children and, 4, 4–5, 34–35, 35, 64, 172, 215, 216–17, 217, 219, 219
colonial French policies and, 215, 216–17
emancipation in U.S. and, 215, 216–17, 217, 219, 219
Eva and Topsy characters and, 172, 217
North Africans and, 215, 216–17
portraits of aristocracy in Haiti and, 82, 82–83, 84, 87
rebellions by slaves and, 67, 68–69. See also aesthetic/unaesthetic image; white image; whites
black-white relations, viii, xv–xvi, 237–38, 238, (238–39). See also blacks; blacks’ place in white society; master/slave relations; whites
Blake, William: Flagellation of a Female Samboe Slave, 66, 67, 105, 117
Negro Hung Alive by the Ribs to a Gallows, 67, 67, 117
Blythe, David Gilmour: The Higher Law, 202, 202
Old Virginia Home, 200–201, 201–2
Boizot, Simon-Louis, 62, 62–63
Bonneville, François: E. V. Mentor, 84–85, 84–85
Toussaint Louverture, 84–85, 84–85
Bourgoin, François-Jules, The Maroons in Ambush… (after painting by), 73, 74–75, 75
Brangwyn, Frank, 263, 264–65
Brazil, and slaves: abolition and, 113–15, 116–21, 117, 120–21, 123
baptism and, 114–15, 116–17
chains and, 120–21, 121, 123
floggings in public and, 117, 118–19
historical events and, 113–15, 116–21, 117, 120–21
Middle Passage and, 120, 120
paganism and, 114–15, 116–17. See also South America/Americans, and rebellions by slaves
British. See colonial British policies; colonial British West Indies; emancipation and colonial British policies; England/English; memorials to British empire
broken chains: abolition in colonial Africa and, 256–57, 259
abolition in England and, 142–43, 142–43, 265
allegory of Africa and, 223, (224–25), 225–26, 225–26, (226–27), 228, 242
allegory of Liberty and, 29, 30–31, 56, 87, 261
emancipation and colonial French policies and, 145, 145
memorials to Belgian empire and, 256–57, 259
memorials to emancipation in U.S. and, 7, 212, 228–29, 228–30
memorials to French empire and, 232, 234, 234. See also chains
brown skin color, xiv. See also skin color
Brunias, Agostino, 15–16, 16–17, 123
Buchser, Frank: The Song of Mary Blane, 207–8, 208
The Volunteer’s Return, 206–7, 206–7
 
cameo, as symbol of abolition, 1, 41–45, 42, 58–59, 78, 79, 80, 87, 276. See also symbol of abolition
Cameron, Julia Margaret, King Theodore’s Son and Captain Speedy, 3, 4
Caminade, Alexandre-François, The Adoration of the Magi, 153, 155, 156
Cammarano, Michèle, Battle of Dogali (Ethiopia), 255, 256–57
Candice, and eunuch of Ethiopia baptism, 37, 45, 160–61, (162–63), 164, 273
cap of liberty, 62, 62–63, 145, 145. See also dress/costumes
caricatures: overview, 3, 5, 273
abolition in England and, 3, 53–54, 54
abolition in France and, 81, 139–40, 151, 152, 220, 223, 225
dress and, 3, 53–54, 54
emancipation and colonial British policies and, 3, 122–23, 123–24
emancipation in U.S. and, 3, 7, 170, 170–71, 202, 202–3, 204, 212, 228, 228–29
emancipation in West Indies and, 3, 122–23, 123
memorials to heroes of emancipation in U.S. and, 209, 210–11
proletariat/slavery comparisons and, 3, 122–23, 123
white image and, 3, 53–54, 54. See also stereotypic characteristics
Carlton, William Tolman, Wailing for the Hour, 167–70, 168–69
Carpeaux, Jean-Baptiste, 223, (224–25), 225, 225
cartography, xv. See also geography/geographical illustrations
Catholicism: overview, xv
emancipation and colonial French policies and, 158, 158–59
missionaries in Africa and, 149–51, 150–51, 166, 166
missionaries in U.S. and, 151, 152, 225
slaves and, xix
slave trade and, 156, 164, 248, 249
symbolic sacraments and, 160–61, (163), 166, 166
white image and, 104–5, 105
whites’ benevolence/blacks’ gratitude and, 151, 152, 225
white slave trade and, 152–53, 153, (154–55). See also Christianity; Magus/Magi narrative; Protestantism; redemption
central Africa/Africans, xii, xviii, 256–57, 259, 260. See also Africa/Africans
chains: abolition in France and, 106, 121, 126–27
allegories and, 29, 30–31, 34–35, 35, 56, 64, 87, 172, 261
allegory of Africa and, 152–53, 153, (154–55)
brutality/refinement disparity in art and, 33–34, 33–35
colonial British policies and, 1, 2
emancipation and colonial French policies and, 156, 156–59, 158
emancipation in U.S. and, 200–201, 201–2, 215, 216–17
prisoners and, 114–15, 116–18, 117
redemption and, 156, 156–57, 158
runaways and, 180–81, 180–81, 192, 192–93, 194, 236
slavery in Brazil and, 120–21, 121, 123
slave trade and, 7, 136, 137–38, 138–39, 277
symbol of abolition in U.S. and, 1, 41–45, 42, 58–59, 78, 79, 80, 87, 276. See also broken chains
Charity allegory, 143, 144–45. See also allegories
Chassériau, Théodore: Baptism of the Eunuch, 161, (162–63)
Study for Baptism of the Eunuch, 161, 164
children: abolition in U.S. and, 4, 4–5, 172, 217, 272
allegory of Africa and, 138–39, 139–40
allegory of Charity and, 143, 144–45
black-white contrast and, 4, 4–5, 34–35, 35, 64, 172, 215, 216–17, 217, 219, 219
memorials to emancipation in U.S. and, 217, 218–19, 234–35, 234–35, (236–37)
stereotypic characteristics and, 172, 217, 272
white image and, 4, 4–5, 37, 40, 40, 172, 217
as witnesses to slave auction, 217, 219, 219
China/Chinese, and allegory of continents, 223, (224–25), 225, 225
Chodowiecki, Daniel, Die Empörung der Negeri La Révolte des Nègres, 62–63, 64
Christianity: context for blacks and, xvii, 82, 82–83, 84, 87, 104–5, 105–7, 108–9, 115, 143, 144–45, 164, 165
humility of blacks and, 158, 158–61, 160
humility of whites and, 151, 152, 153, 225
Jews and, xvii, 166, 166
kneeling image and, 104–5, 105, 107, 108–9, 164, 165
Muslims and, xvii, 150
slaves and, 272, 276
white slave trade by Muslims and, 152–53, 153, (154–55). See also baptism; Catholicism; Magus/Magi narrative; Protestantism; redemption
civil rights: emancipation and colonial French policies and, 10, 97–99, 98–99, (101), 103, 103–4, 139, 276–77
for men, 4, 158, 158–59, 214, 215
for women, 4, 62, 62–63, 64, 158, 158–59, 214, 215, 234–35, 234–35, (236–37)
Civil War: black-white relations and, 237–38, 238, (238–39)
as historical event, 1
memorials to black soldiers in, 237–38, 238, (238–39), 240, 240
runaways during, 190–94, 191–92, 194–95, 204, 236
snakes as symbol and, 194–95, 195, 197. See also American Revolution; United States
classical style, xi, xiii, xvii. See also neoclassical style; Roman era
colonial Africa: overview, 265, 271
abolition and, 256–57, 259
African slave traders and, 80, 80
Belgium’s colonial policies and, 257, 259, 260
broken chains and, 256–57, 259
memorials to Italian empire and, 255, 256–57
memorials to Spanish empire and, 248, 249. See also Africa/Africans; memorials to British empire; memorials to French empire
colonial British policies: overview, 260–61, 263, 271
chains and, 1, 2
commemoration of victories in West Africa and, 246, 248, 248
misinterpretation of slave trade and, 16, 17
rebellions by slaves and, 65, 65–66. See also colonial British West Indies; emancipation and colonial British policies
colonial British West Indies: caricatures and, 3, 122–23, 123
dress and, 15–16, 16–17, 123
emancipation and, 3, 7–8, 8, 122–23, 123–24
genre scenes and, 10, 14–17, 15–16, 19, 20, (20–21), 21–23, 97, 123. See also colonial British policies
colonial French policies: overview, 261, 263, 271
abolition and, 34, 127, 128–29, 130, 173
Algeria and, 161, 217, 223, 279
allegory of Commerce and, 59–60, 60–61, 112
allegory of France and, 59, 60
black-white contrast and, 215, 216–17
Christianity context for blacks and, 104–5, 105
emancipation and, 151, 152, 158, 158–60, 160, 225
humility of blacks and, 158, 158–60, 160
humility of whites and, 151, 152, 225
missionaries in Africa and, 149–51, 150–51
North Africa and, 161, 215, 216–17, 223, 279
rebellions by slaves and, 80–81, 81
slaves and, 59–60, 60–61, 75, 112
symbol of emancipation and, 16–17, 18–19, 19, 145, 145. See also emancipation and colonial French policies; Haiti (Saint-Domingue)
colonial policies: Belgian, 257, 259, 260
Italian, 255, 256–57
Portuguese, 113–14, 117, 243. See also Brazil; colonial British policies; colonial French policies; colonial West Indies
colonial West Indies: abolition in Danish, 56–58, 5859, 62, 277
baptism in Dutch, 37, 40–41
maroons’ self-emancipation and, 64–65, 73, 74–75, 75
theater performers and, 7–8, 8. See also Atlantic triangle; Haiti (Saint-Domingue)
commerce: allegory of, 59–60, 60–61, 112
colonial Belgian policies and, 256–57, 259, 260
colonial French policies and, 59–60, 60–61, 112
memorials to British empire and, 242–43, 244–45, 245. See also auctions for slaves in U.S.; slave trade
commissions/patrons, 273–74
Congo/Kongo, xviii, 256–57, 259, 260. See also Africa/Africans; West Africa/Africans
conversion, xviii. See also baptism; evangelization; missionaries in Africa
Copley, John Singleton: The Death of Major Peirson, 22–23, 23–24, (24)
Watson and the Shark, 10, 19, 20, (20–21), 21–23, 97
Cordier, Charles, Aimez-vous les uns les autres, 215, 216–17
Crowe, Eyre, 174–77, 175
Cruikshank, George, 170, 170–71, 177, 178–79, 179
 
Danish West Indies, 56–58, 58–59, 62, 277
dark/black skin color, xi–xii, xv–xvi, 143, 144–45, 253, 254–55, 255. See also skin color
David d’Angers, Pierre-Jean: Drawing for a proposed sculpture on the abolition of the slave trade, 106, 121, 126–27
Model for a relief on bronze monument of Cardinal de Cheverus, 151, 152, 153, 225
Model for a relief on the Gutenberg Monument, 81, 138–39, 139–40, 220, 223, 225
Model for the relief on the tomb of General Jacques-Nicolas Gobert, 80–81, 81
Debret, Jean-Baptiste, 114–15, 116–18, 117
Delacroix, Eugène, Greece on the Ruins of Missolonghi, 110–11, 111
Deneuville, Alphonse, 250, 251
Denmark, and abolition in West Indies, 56–58, 58–59, 62, 277
De Rudder-Du Menil, Hélène, 256–57, 259
diversity image, 37, 40, 40. See also universalism
Douglass, Frederick, 132, 132–33, 234–35, 236–37, (237). See also black abolitionists in U.S.; freedmen; memorials to emancipation in U.S.; portraits of freedmen in U.S.
dress/costumes: abolition in England and, 3, (48–49), 50–54, 107, 142–43, 142–43, 265
baptism and, 164, 165, 166, 166
brutality/refinement disparity in art and, 33–34, 33–35
cap of liberty and, 62, 62–63, 145, 145
colonial West Indians in fashionable, 15–16, 16–17, 123
commemorations of whites’ victories in West Africa and, 246, 248, 248
Egyptians and, 160–61, (162–63), 253, 254–55, 255
memorials to British empire and, 241–42, 242–43
memorials to emancipation in U.S. and, 228–29, 228–30, 232, 232–33, (232–33)
Middle Ages and, 142–43, 142–43, 265
missionaries in Africa and, 145–46, 148–49, 149–50, 242–43
nude/half-naked image contrasted with whites’, (48–49), 50–53, 107, 228–29, 228–30, 232, 232–33, (232–33), 241–42, 242–43
Orientalism and, 109, 110–13, 111–13, 161, (162–63)
panache and, 22–23, 23–24, (24), 111–13, 112–13
portraits of aristocracy in Haiti and, 86–87, 86–87, 89, 91, 92, 276
Roman era, 132, 134–35, 135, 246, 248, 248, 277
Drummond, Arthur, 261, 262–63
Duncanson, Robert, Uncle Tom’s Cabin, Uncle Tom and Little Eva, 4, 4–5, 172
Dutch West Indies, and slave trade, 37, 40, 40
 
Earle, Augustus, 117, 119
East Africa/Africans, xvii, 245, 255, 256–57. See also Africa/Africans; Egypt/Egyptians
Edward VII (king of Great Britain), 261
Egypt/Egyptians: overview, xv, xvi
black skin color and, xv, 253, 254–55, 255
Christian black communities and, xvii
dress and, 160–61, (162–63), 253, 254–55, 255
exodus as symbol of emancipation in U.S. and, 167–70, 168–69, 197–98, 199
exoticism and, 253, 254–55, 255
emancipation: overview, 1
maroons’ self-, 64–65, 73, 74–75, 75
stages of, 211, 228. See also emancipation and colonial British policies; emancipation and colonial French policies; emancipation in U.S.; Enlightenment; redemption
emancipation and colonial British policies: overview, 136, 167
caricatures and, 3, 122–23, 123–24
West Indies and, 3, 7–8, 8, 122–23, 123–24
whites’ benevolence/blacks’ gratitude and, 1, 74–75, 75, 132, 142–43, 143, 265. See also colonial British policies; emancipation and colonial French policies
emancipation and colonial French policies: overview, 143, 145, 167, 274, 276
aesthetic/unaesthetic image and, 145, 146–47, (147), 170
allegory of Charity and, 143, 144–45
allegory of Liberty and, 145, 145
baptism and, 160–61, (162–63), 164
broken chains and, 145, 145
Catholicism and, 158, 158–59
chains and, 156, 156–59, 158
Christian context for blacks and, 143, 144–45
civil rights and, 10, 97–99, 98–99, (101), 103, 103–4, 139, 276–77
humility of blacks and, 158, 158–60, 160
humility of whites and, 151, 152, 225
universalism and, 143, 144–45, 160–61, (163)
whites’ benevolence/blacks’ gratitude and, I, 145, 146–47, (147), 170. See also colonial French policies; emancipation and colonial British policies
emancipation from tyranny in Europe: emancipation in U.S. compared with, 203–4, 212–14, 213–15
Greece and, 109, 110–13, 111–13
Poland and, 156, 156–57, 158
runaways compared with, 204–5, 204–5
emancipation in U.S.: overview, 29, 136
aesthetic/unaesthetic image and, 207–8, 208–9
apocalypse theme and, 200–201, 200–202
blacks’ place in white society and, 6–7, 7, 197–98, 199
black-white contrast and, 215, 216–17, 217, 219, 219
chains and, 200–201, 201–2, 215, 216–17
civil rights and, 4, 214, 215
classical style and, 4, 214, 215
emancipation from tyranny in Europe compared with, 203–4, 212–14, 213–15
enfranchisement and, 202, 202–3
Europeans’ vision of, 203–9, 204–9
exodus as symbol of, 167–70, 168–69, 197–98, 199
exoticism and, 206–7, 206–7
freedmen and, 198, 198–99, 202, 202–3
genre scene realism and, 167–70, 168–69
humanism and, 194, 194–95
paternalism/gratitude and, 203, 204
runaways and, 204–5, 204–5
stereotypic characteristics and, 206–7, 206–7
symbol of, 167–70, 168–69, 197–98, 199
whites’ benevolence/blacks’ gratitude and, 203, 204. See also black abolitionists in U.S.; memorials to emancipation in U.S.; memorials to heroes/martyrs of emancipation in U.S.; white abolitionists in U.S.
enfranchisement, and emancipation in U.S., 202, 202–3
England/English: overview, xiii, xix
abolition of slave trade, 1, 73, 74–75, 112–13, 124–25, 124–27, 130, 136, 173, 182, 274, 277
abolition of slave trade and, 1, 74–75, 75, 277
American Revolution and, 15, 24–25, 24–25, 78, 78–79, 271
Enlightenment and, 40–41, 53–54, 54
evangelization and, 115
genre scenes of slave trade and, (48–49), 50–53, 52–53, 62, 68, 87, 103, 107, 126, 276
relocation of freedmen and, 78, 78–79, 80
slaves and, xix, 14
slave trade and, 7, (48–49), 50–53, 52–53, 62, 68, 87, 103, 107, 126, 136, 137–38, 138–39, 182, 276, 277
whites’ benevolence/blacks’ gratitude and, 74–75, 75, 76, (76–77), 78, 78–79, 80. See also colonial British policies; emancipation and colonial British policies; memorials to British empire; proletariat/slavery comparisons
Enlightenment: overview, xi, xii, 271, 276
abolition and, 29, 30, 30–31, 34, 56, 87, 261
allegory of Nature and, 34–35, 35, 64, 172
England and, 40–41, 53–54, 54
France and, 19, 34–35, 53, 62, 62–63, 64
slavery and, 29–31, 34–35. See also abolition; emancipation
Ethiopia/Ethiopians: eunuch of Ethiopia baptism and, 37, 45, 160–61, (162–63), 164, 273
memorials to resistance against Italian empire and, 255, 256–57
Moses and wife narrative and, xvii
realistic features and, xv, xvi
rulers and, xv, xvi, xvi
social status and, xv, xvi
texts and, xvi, xvii
eunuch of Ethiopia baptism, 37, 45, 160–61, (162–63), 164, 273
Europe/Europeans: allegory of continents and, 81, 139–40, 151, 152, 220, 223, (224–25), 225, 225
black Americans in, 12, 12–13, 16–17, 18–19, 19
black Americans in vision of, 10, 19, 20, (20–21), 21–26, 22–23, (24), 26–29, 28–29, 97
blackness as negative and, 275
emancipation in vision of U.S. and, 203–9, 204–9
Haiti aristocrats as equal to rulers of, 86–87, 86–87, 276
Muslim contact with, xvii
patron/commission and, 274
predominance of, 81, 139–40, 151, 152, 220, 223, 225
runaways in vision of U.S. and, 177, 178–81, 179–82
servant as male in vision of, 24–25, 24–27, (26)
studies of models and, 275, 280
Western, use of term, xii–xiii. See also proletariat/slavery comparisons; specific countries
Eva character, 4, 4–5, 172, 217. See also children; Stowe, Harriet Beecher, Uncle Tom’s Cabin
evangelization, xviii, 37, 150, 226, 228, 273. See also baptism; missionaries; missionaries in Africa; salvation; universalism
Evans, Richard, Portrait of Henry Christophe, King of Haiti, 86–87, 86–87, 276
exodus, as symbol of emancipation in U.S., 167–70, 168–69, 197–98, 199. See also emancipation in U.S.; symbol of emancipation
exoticism/opulence: overview, xii, xviii, 279
allegory of Africa and, 152–53, 153, (154–55)
emancipation in U.S. and, 206–7, 206–7
Magus narrative and, 153, 155–56, 155–57
memorials to British empire and, 245–46, 247
resistance in Egyptian Sudan and, 253, 254–55, 255
servant as female in vision of blacks in France and, 16–17, 18–19, 19
Turks and, 109, 110–11, 111. See also turbaned iconography
explorers’ lives in Africa, 241–43, 242–45, 245
 
facial features: overview, xiv–xv, 271
American Indians and, 4, 214, 215
idealization of, 1–2, 2
lips feature, xiv–xv, 174
nose feature, xiv–xv. See also stereotypic
features fantasies. See exoticism/opulence
fasces, as symbol of U.S., 56, 56–57
Ferdinand I (grand duke of Tuscany), 225
Flandrin, Hippolyte Jean, Study for Légalité des hommes devant Dieu, 160, 160–61
floggings, public: aesthetic/unaesthetic image and, 128, 128–29, 277
colonial French policies and, 117, 127, 128–29, 130, 173, 277
executioners as black and, 117, 118–19
executioners as white and, 117, 119
nude/half-naked image in scenes as artworks and, 128, 128–29, 277
rebellions by slaves and, 66, 67, 105, 117
resistance against sexual advances and, 66, 67, 105, 117
slaves in Brazil and, 117, 118–19
studies of models and, 128, 128–29, 277
France/French: abolition of slave trade, 97–98, 101–2, 106, 112–13, 121, 126–27, 277
abolition of slave trade and, 277
blacks’ place in white society and, 82, 82–83, 84, 87, 107, 109, 109, 150–51, 150–51
Christian context for blacks and, 104–5, 105
Enlightenment and, 19, 34–35, 53, 62, 62–63, 64
exoticism of servant as female and, 16–17
Magus narrative and, 153, 155, 156
mulattoes and, 111, 151
patron/commission and, 274
realistic features and, 16–17, 18–19, 19
shield as symbol of, 111–13, 112–13
tricolor panache and, 111–13, 112–13
women’s rights and, 62, 62–63, 64. See also specific rulers
freedmen: overview, viii, xviii
abolition in England and, 140–41, 140–41, 143, 220
aesthetic/unaesthetic image and, 128, 128–29, 130, (130–31)
emancipation in U.S. and, 198, 198–99, 202, 202–3
place in white society for, 6–7, 7, 197–98, 199
portraits in U.S. and, 87, 88–89, 89
relocation of, 78, 78–79, 80, 89, 91, 92, 255
Fripp, Charles Edwin, 248, 250, 250–51, 252–53
fugitives (runaways). See runaways (fugitives)
Fuseli, Henry, The Negro Revenged, 68–69, 70–71, 71, 107, 276
 
Gagliardi, Pietro: Adoration of the Magi, 156, 156–57
B. Petrus Claver (after painting by), 164, 165
Gainsborough, Thomas, Portrait of Ignatius Sancho, 12, 12–13
genre scenes: black Americans and, 184–88, 185
colonial West Indies and, 10, 14–17, 15–16, 19, 20, (20–21), 21–23, 97, 123
emancipation in U.S. and, 167–70, 168–69
Europeans’ vision of blacks in U.S. and, 10, 19, 20, (20–21), 21–23, 22–23, 23–24, (24), 97
Magus narrative and, 184–88, 185
proletariat/slavery comparisons and, 184–88, 185
realism and, 167–70, 168–69
slave trade and, (48–49), 50–53, 52–53, 62, 87, 103, 107, 126, 177
geography/geographical illustrations, xv, xvii, 36, 36
Gérard, François, Ourika, 107, 109, 109
Géricault, Théodore: Five studies of black man for The Raft of the Medusa, 98, 100–101
Preliminary drawing for The Slave Trade, 97–98, 101–2
The Raft of the Medusa, 10, 97–99, 98–99, (101), 139, 276–77
Study for The Slave Trade, 103, 103–4, 276–77
Study of nude black, 98, 102–3
Germany/Germans, and baptism, 164, 165, 166, 166
Girodet, Anne-Louis, Portrait of Jean-Baptiste Belley, 82, 82–83, 84, 87
Gosse, Nicolas-Louis-François, Sketch for Lesclavage affranchi, 145, 145
gratitude of blacks, whites’ reception of, 230–31, 231–32. See also whites’ benevolence/blacks’ gratitude; whites’ paternalism/blacks’ gratitude
Great Britain/British. See colonial British policies; colonial British West Indies; emancipation and colonial British policies; England/English; memorials to British empire
Greece/Greeks: overview, xvi
emancipation from tyranny and, 109, 110–13, 111–13, 156, 156–57, 158
Ethiopian, use of term, xiv
Hellenistic period and, xv, xvi, xvii
slaves and, xvii
Gregory XVI (pope), 156, 161
Grimm, Ludwig, Die Mohrentaufe, 164, 165, 166
Gros, Antoine-Jean, 111–13, 112–13
 
Haidt, Johann Valentin, Erstlingsbild (The First Fruits), 37, 40
hair, xiv–xv, 4, 214, 215, 271. See also stereotypic features
Haiti (Saint-Domingue): Christian context for blacks and, 104–5, 105
mulattoes and, 84, 85
rebellions by slaves and, 62–63, 64, 71–73, 72–75, 75, 80–81, 80–81, 276. Sec also colonial French policies; colonial West Indies
Haydon, Benjamin Robert, The Anti-Slavery Society Convention, 18–40, 140–41, 140–41, 143, 220
head shapes (phrenology), 93, 132, 134–35, 134–35, 277, 278
Hellenistic period, xv, xvi, xvii. See also Greece/Greeks; Roman era
heroes/martyrs images, and rebellions by slaves, 66–67, 66–67, 276. See also memorials to heroes/martyrs of emancipation in U.S.
hierarchy/social status, ix, xv, xvi, 158, 159–61, 160. See also blacks’ place in white society; slaves/slavery; whites’ benevolence/blacks’ gratitude; whites’ paternalism/blacks’ gratitude
historical events: overview, 6–7
abolition and, 1, 2, 278
baptism and, 160–61, (162–63), 164, 165, 166
Civil War and, 1
colonization of Africa and, 278
slavery experience and, 7
slavery in Brazil and, 113–15, 116–21, 117, 120–21
Holland, and Dutch West Indies slave trade, 37, 40, 40
Homer, Winslow: The Bright Side, 194–95, 195, 197, 209, 279
Near Andersonville, 1, 196–97, 197
Hosmer, Harriet Goodhue, Design for the Freedmen’s Monument, 211, 228
Houdon, Jean-Antoine, Buste d’une négresse, 16–17, 18–19, 19
Houston, John Adam, The Fugitive Slave, 180, 180
human condition, metaphors for: overview, 7
dress and, 10, 19, 20, (20–21), 21–23, 97
France and, 10, 97–99, 98–99, (101), 139, 276–77
slave trade in England and, 7, 136, 137–38, 138–39, 277
humanism, and emancipation in U.S., 194, 194–95
humility, Christian: of blacks, 158, 158–60, 160
of whites, 151, 152, 225. See also Christianity
 
idealization of features, 1–2, 2
identities of blacks, 5–6, 7, 8–9, 9, 12, 12–13
idolatry/paganism, 114–15, 116–17, 152–53, 153, (154–55)
image, use of term, 273
India/Indians, xv, xvi, xvi–xvii, 12, 261, 262–63
inferior/outsider image, 151, 152, 225
Islam/Muslims. See Muslims/Islam
Italy/Italians, 156, 156–57, 255, 256–57
 
Jamin, Paul-Joseph, The Death of Prince Imperial, 252, 254–55
Jarry de Mancy, Adèle, Portrait of Eustache, 92, 92–93
Jennings, Samuel, Liberty Displaying the Arts and Sciences, 29, 30–31, 56, 87, 261
Jews: baptism of, 166, 166
and exodus as symbol of emancipation in U.S., 167–70, 168–69, 197–98, 199
Muslims compared with, xvii, 166
Jocelyn, Nathaniel, Portrait of Cinque, 132, 134–35, 134–35, 277
Johnson, Eastman: The Freedom Ring, 188, 188–89
Negro Life at the South, 184–88, 185, 277
A Ride for Liberty—The Fugitive Slaves, 190–91, 191–92, 204
Joy, George William, 253, 254–55, 255
Justice allegory, 142–43, 142–43, 265. See also allegories
 
Kaufmann, Theodor, 204–5, 204–5
kneeling image: overview, 275, 276
abolition in England and, 53–54, 54, 107, 108–9, 142–43, 142–43, 265
abolition in France and, 81, 138–39, 139–40, 220, 223, 225
abolition of slave trade in England and, 74–75, 75
allegory of France with, 59, 60
Christian context for blacks and, 104–5, 105, 107, 108–9, 164, 165
medallion as symbol of abolition and, 1, 41–45, 42, 58–59, 78, 79, 80, 87, 276
memorials to Belgian empire and, 256–57, 259, 260
memorials to British empire and, 245–46, 247, 261, 262–63
memorials to heroes of emancipation and, 3, 7, 212, 212, 213, 228–29, 228–30
symbol of abolition in England and, 53–54, 54, 107, 108–9
symbol of emancipation in U.S. and, 197–98, 199
whites’ benevolence/blacks’ gratitude and, 7, 56, 56–57, 74–75, 75, 212, 228–29, 228–30
Kongo/Congo, xviii, 256–57, 259, 260. See also Africa/Africans
 
Laemlein, Alexandre, La Charité, 143, 144–45
Landseer, Charles: Black Punishments…, 117, 119
The Interior of a Brazilian Rancho…, 120–21, 121, 123
Latin language, xiv
Lemonnier, Anicet-Charles-Gabriel, Allegory of Commerce, 59–60, 60–61, 112
Leopold II (king of Belgium), 257, 260
Lewis, Edmondia, Forever Free, 4, 214, 215
Liberia, and relocation of freedmen from U.S., 92, 255
Liberty allegory. See allegory of Liberty
Lincoln, Abraham: memorials for heroes in emancipation in U.S. and, 211, 212, 213–14, 213–15, 228
memorials to emancipation and, 7, 212, 228–29, 228–30
whites’ reception of blacks’ gratitude and, 230–31, 231–32. See also white abolitionists in U.S.
lips, xiv–xv, 174
literature, xvi, 5–7, 8–9, 272. See also Stowe, Harriet Beecher, Uncle Tom’s Cabin; texts
Louis-Philippe I (king of France), 106, 112
 
Maclise, Daniel, The Spirit of Justice, 142, 142–43, 265
Magniadas, Franky, French-Swiss Lincoln medal, 213–14, 213–15
Magus/Magi narrative: overview, ix, 12, 276
Christian context for blacks and, xvii, 87, 115
exoticism and, 11, 17
France and, 153, 155, 156
genre scenes of black Americans and, 184–88, 185
Italy and, 156, 156–57
redemption and, 153, 155, 156. See also positive image
Malaquais, Jean, ix–x
Mansa Musa (ruler of Mali), xv
maroons’ self-emancipation, 64–65, 73, 74–75, 75. See also colonial British West Indies; colonial West Indies
Marquet de Vasselot, Anatole, Schoelcher Monument, 232, 234, 234
master/slave relations, ix, xviii, 257, 259, 260. See also black-white relations; colonial Africa; colonial British policies; colonial French policies; slaves/slavery
Matthew (saint), 166, 166
Maurice (saint), xv, xvii, 87
medallion as symbol of abolition, 1, 41–45, 42, 58–59, 78, 79, 80, 87, 276. See also symbol of abolition
Memnon (legendary ruler of Ethiopia), xv
memorials to British empire: allegory of Africa and, 225–26, 226, (226–27), 228, 242
benighted Africans and, 225–26, 226, (226–27), 228, 241–43, 242–45, 245–46, 248, 248
commemoration of whites’ victories in West Africa and, 246, 248, 248
exoticism and, 263, 264–65
India/Indians and, 261, 262–63
kneeling image and, 245–46, 247, 261, 262–63
nude/half-naked image and, 248, 250–53, 250–53, 261, 262–63
redemption and, 242–43, 244–45, 245–46, 247
resistance in Egyptian Sudan and, 253, 254–55, 255
resistance in South Africa and, 248, 250–53, 250–53
well-dressed/half-naked contrasts, 241–42, 242–43
white explorers’ lives in Africa and, 241–43, 242–45, 245
whites’ benevolence/blacks’ gratitude and, 225–26, 226, (226–27), 228, 242
white superiority and, 261, 262–63
memorials to emancipation in U.S.: overview, 229–31
black soldiers in Civil War and, 237–38, 238, (238–39), 240, 240
broken chains and, 7, 212, 228–29, 228–30
children and, 217, 218–19, 234–35, 234–35, (236–37)
equality for blacks and, 234–35, 236–37, (237)
well-dressed/half-naked contrasts, 228–29, 228–30, 232, 232–33, (232–33)
whites’ benevolence/blacks’ gratitude and, 7, 212, 228–29, 228–30, 234–35, 234–35, (236–37)
whites’ paternalism/blacks’ gratitude and, 232, 232–33, (232–33)
whites’ reception of blacks’ gratitude and, 230–31, 231–32
women’s rights and, 234–35, 234–35, (236–37). See also emancipation in U.S.; memorials to heroes/martyrs of emancipation in U.S.
memorials to empires: Belgium, 256–57, 259, 260
Italy, 255, 256–57
Spain, 248, 249. See also memorials to British empire; memorials to French empire
memorials to French empire: overview, 261
allegory of continents and, 223, (224–25), 225, 225
blacks’ place in white society and, 232, 234, 234
broken chains and, 232, 234, 234
pacification of African and, 256, 258
placement in artworks and, 223, (224–25), 225, 225
whites’ benevolence/blacks’ gratitude and, 223, (224–25), 225, 225
whites’ paternalism/blacks’ gratitude and, 232, 234, 234
memorials to heroes/martyrs of emancipation in U.S.: overview, 211–13
allegory of Liberty and, 209, 211–12, 213
blacks in stages of emancipation and, 211, 228
children as witnesses to slave auction and, 217, 219, 219
commemorative medals and, 213–14, 213–15
emancipation from tyranny in Europe and, 212, 213
freedmen as triumphant and, 220–21, 222
kneeling image and, 3, 7, 212, 212, 213, 228–29, 228–30
runaways and, 220, 220
white abolitionists and, 7, 209, 211–14, 212–15, 217, 218–19, 228–29, 228–30
women and, 220, 220. See also heroes/martyrs images, and rebellions by slaves; memorials to emancipation in U.S.
men: allegory of Africa as male, 75, 76, (76–77), 78, 81, 138–39, 139–40, 152–53, 153, (154–55), 245–46, 247
civil rights for, 4, 158, 158–59, 214, 215
servant as male and, ix, xi–xii, 24–26, 24–29, (26), 28–29
Menil Collection, vii–x
Middle Ages: dress and, 142–43, 142–43, 265
slaves and, 142–43, 142–43, 156, 156–57, 158, 265
Middle Passage: overview, 45, 276–77
metaphors for human condition and, 7, 10, 97–99, 98–99, (101), 136, 137–38, 138–39, 276–77
misinterpretation of, 16, 17
slave trade in Brazil and, 120, 120
slave trade in England and, 7, 136, 137–38, 138–39, 182, 277
slave trade in Spain and, 132, 134–35, 134–35, 277
symbol of, 45, 46–47, 47, 50, 106, 121. See also Atlantic triangle
missionaries: in U.S., 151, 152, 225
in West Indies, 37, 40, 40. See also Catholicism; missionaries in Africa
missionaries in Africa: overview, 145–46
baptism and, 166, 166
Catholicism and, 149–51, 150–51, 166, 166
colonial Belgian policies and, 256–57, 259, 260
colonial French policies and, 149–51, 150–51
dress and, 145–46, 148–49, 149–50, 242–43
Moravian missions and, 37, 40, 40–41, 40–42, 45, 146
Protestantism and, 12, 145–46, 148–49, 149–50, 242–43
redemption and, 145–46, 148–49, 242–43, 244–45, 245
west Africa and, xviii
whites’ benevolence/blacks’ gratitude and, 54, 54–55, 56. See also Catholicism; Christianity; evangelization; missionaries
mixed marriages, xviii, 62
Moor, xiv. See also blackness; blacks
Moran, Thomas, The Slave Hunt, 178, 181–82
Moravian missions, 37, 40–41, 40–42 45, 146. See also missionaries; missionaries in Africa; Protestantism
Morland, George: African Hospitality, (48–49), 50–53, 107
Execrable Human Traffick, or The Affectionate Slaves, (48), 50–53, 62, 68, 103, 177, 276
The Slave Trade, 47, (48)
Moses, xvii, 168
Mossman, John, Relief for Livingstone Monument, 242–43, 244–45, 245
mulattoes/octoroons: abolition of slave trade in U.S. and, 276–77, 177
as artists, 4–5, 172, 275
colonial French policies and, 60–62, 82
colonial West Indies and, 14–17, 15, 123
France and, 111, 151
Haiti and, 84, 85
Muslims/Islam: overview, 44–45
allegory of Charity and, 143, 144–45
European contact with, xvii
Jews compared with, xvii
memorials to Belgian empire and, 256–57, 259, 260
Muslims, use of term, xiv
North Africa and, xiv
paganism and, J 52–53, 153, (154–55)
portraits of freedmen in US. and, 89, 90–91, 150
slaves and, xvii, 248, 249, 256–57, 259
slave trade and, 36, 36
white slave trade and, 152–53, 153, (154–55)
 
Nast, Thomas: Patience on a Monument, 209, 210–11
This Is a White Mans Government, 203, 204
naturalistic image (realistic features), xv, xvi, xvi, 16–17, 18–19, 19, 161, (162–63). See also studies of models (études)
Nature allegory, 34–35, 35, 64, 172. See also allegories
negative image, 275. See also caricatures; positive image; stereotypic characteristics; stereotypic features
Negroes/blacks, 30, 271–72, 274–75. See also blacks
neoclassical style, 15, 64, 271. See also classical style
New Testament, ix, xv, xvii. See also Old Testament; specific names and narratives; specific saints
Noah’s sons narrative, 166, 166
Noble, Thomas Satterwhite, Last Sale of Slaves in St. Louis, 217, 219, 219
“noble savage,” 248, 250–53, 250–53
North Africa/Africans: overview, xiv, xv, 279
Algeria and, 161, 217, 223, 279
black-white contrast and, 215, 216–17
colonial French policies and, 161, 215, 216–17, 223, 279
memorials to Italian empire and, 255, 256–57
Muslims and, xiv
Orientalism and, 279
slaves and, xvii. See also Africa/Africans; Egypt/Egyptians
Northcote, James, Head of a Negro in the Character of Othello, 93, 94–95, 95
nose, xiv–xv
Nubia/Nubians, xvi. See also Ethiopia/Ethiopians
nude/half-naked image: overview, 29–30
abolition in England and, (48–49), 50–53, 107
aesthetic/unaesthetic image and, 128, 128–29, 130, (130–31)
allegory of Africa and, 225–26, 226, (226–27), 228, 242
allegory of continents and, 223, (224–25), 225, 225
baptism and, 166, 166
brutality/refinement disparity in art and, 33–34, 33–35
memorials to British empire and, 241–42, 242–43, 261, 262–63
memorials to emancipation in U.S. and, 7, 212, 228–29, 228–30, 232, 232–33, (232–33)
resistance in South Africa and, 248, 250–53, 250–53
scenes of public floggings as artworks and, 128, 128–29, 277
slave trade and, 98, 102–3
slave trade in England and, (48–49), 50–53, 107
well-dressed whites’ contrasted with, (48–49), 50–53, 107, 228–29, 228–30, 232, 232–33, (232–33), 241–42, 242–43
 
octoroons/mulattoes. See mulattoes/octoroons
Old Testament, xv–xvi, xvii, 167–70, 168–69, 197–98, 199. See also New Testament; specific names and narratives
Oiler y Cestero, Francisco, El Velorio, 6–7, 7
opulence/exoticism. See exoticism/opulence
Orientalism: overview, 279
baptism and, 161, (162–63)
dress and, 109, 110–13, 111–13, 161, (162–63)
memorials to British empire and, 253, 254–55, 255
realistic features and, 161, (162–63)
resistance in Egyptian Sudan and, 253, 254–55, 255
skin color and, 161, (162–63)
Other(s)/otherness, xi, xiv–xv, xix, 151, 152, 225, 273
outsider/inferior image, 151, 152, 225
Overbeck, Johann Friedrich, Baptism, 166, 166
 
pacification of Africans, 256, 258. See also Africa/Africans; memorials to French empire
paganism/idolatry, 114–15, 116–17, 152–53, 153, (154–55)
panache, 22–23, 23–24, (24), 111–13, 112–13. See also dress/costumes
paternalism. See whites’ paternalism/blacks’ gratitude
patrons/commissions, 273–74
Pauwels, Ferdinand Willem, Glorification of the American Union, 212, 213
Peace allegory, 75, 76, (76–77), 78. See also allegories
Peale, Charles Wilson, Portrait of Yarrow Mamout, 89, 90–91
Peale, Raphaelle, Portrait of Absalom Jones, 87, 88–89, 89
Peter (saint), 166, 166
Pezzicar, Francesco, 222
Statue of a freed slave, 220
L’emancipazione dei negri, 220–21
philanthropy: overview, 107, 278, 280
abolition in Brazil and, 113–15, 116–21, 117, 120–21, 123
allegory of Nature and, 34–35, 35, 64, 172
white superiority and, 30, 271–72, 280. See also baptism; Catholicism; human condition, metaphors for; missionaries; portraits of freedmen in U.S.; whites’ benevolence/blacks’ gratitude
Philip (saint), 37, 45, 160, 273. See also eunuch of Ethiopia baptism
Phillips, Henry Wyndham, Captain Speke and Captain Grant with Timbo, 241–42, 242–43
photographs, xii, 3, 4, 5–6, 191, 273, 279
phrenology (head shapes), 93, 132, 134–35, 134–35, 277, 278
Pius VII (pope), 105
Pius IX (pope), 156, 164
placement in artworks: allegory of Africa and, 223, (224–25), 225, 225
allegory of Liberty and, 29, 30–31, 56, 87, 261
memorials to French empire and, 223, (224–25), 225, 225
metaphors for human condition and, 10, 97–99, 98–99, (101), 139, 276–77
resistance in Egyptian Sudan and, 253, 254–55, 255
servant as male and, 25–26, 26–29, 28–29
plantation burials, 183–84, 184–85. See also black Americans; slaves/slavery
Poland/Poles, and emancipation, 156, 156–57, 158
portraits of aristocracy in Haiti (Saint-Domingue): overview, 81–82, 85–86
black-white contrast and, 82, 82–83, 84, 87
Christian context for blacks and, 82, 82–83, 84, 87
diplomats and, 89, 91, 92
dress and, 86–87, 86–87, 89, 91, 92, 276
European rulers as equal to and, 86–87, 86–87, 276
revolutionary subjects and, 84–85, 84–85
portraits of blacks in Europe: studies of models and, 92–93, 92–95, 95
theater performers and, 95, 95–96
portraits of freedmen in U.S.: black abolitionists and, 87, 88–89, 89, 132, 132–33
Muslims and, 89, 90–91
rebellions by slaves and, 134–35, 234–35, 277
survival of slaves and, 89, 90–91. See also abolition in U.S.; emancipation in U.S.
portraits of whites in U.S., with male servant, 25, 26, 26–27, 28–29, 28–29
Portugal/Portuguese colonies, 113–14, 117, 243. See also Brazil
positive image: overview, vii, 6
Old Testament and, xv–xvi. See also Magus/Magi narrative
postcolonialism, 2–3
Potamiaena (saint), 105
Poynter, Edward John, 246, 248, 248
Prester John (legendary ruler of Ethiopia), xv
printing press, and abolition of slave trade, 81, 138–39, 139–40, 220, 223, 225
prisoners: chains and, 114–15, 116–18, 117
photographs and, 5–6
slave collar and, xii, xviii
proletariat/slavery comparisons: caricatures and, 3, 122–23, 123, 124
genre scenes of black Americans and, 184–88, 185
rebellions by slaves and, 128, 129, 130, (130–31)
Protestantism: missionaries in Africa and, 37, 40–41, 40–42, 45, 145–46, 148–49, 149–50, 242–43
missionaries in West Indies and, 37, 40, 40
slaves and, xix. See also Catholicism; Christianity
 
Quakers: overview, 29
medallion as symbol of abolition and, 1, 41–45, 42, 58–59, 78, 79, 80, 87, 276
Middle Passage as symbol of abolition and, 45, 46–47, 47, 50, 106, 121. See also United States
 
racial prejudice, vii–x, xii, xvii–xix, 3–4, 271
racial theories: overview, xii, xviii–xix, 271–72, 278
Holocaust studies and, 3, 7, 280
phrenology and, 92, 92–93, 132, 134–35, 134–35, 277, 278
Rainsford, Marcus, 72, 72–73
realism: genre scenes of emancipation in U.S. and, 167–70
of slave auction, 173–77, 174–75
realistic features (naturalistic image), xv, xvi, xvi, 16–17, 18–19, 19, 161, (162–63). See also studies of models (études)
rebellions by slaves: abolition in England and, 68–69, 70–71, 71, 107
colonial British policies and, 65, 65–66
colonial French policies and, 80–82, 81
colonial West Indies and, 64–66, 65
Haiti and, 62–63, 64, 71–73, 72–75, 75, 80–81, 80–81, 276
heroes in South America and, 66–67, 66–67, 276
maroons’ self-emancipation and, 64–65, 73, 74–75, 75
redemption: chains and, 156, 156–57, 158
Magus narrative and, 153, 155, 156
memorials to British empire and, 242–43, 244–45, 245–46, 247
missionaries in Africa and, 145–46, 148–49, 242–43, 244–45, 245
Spain and, 248, 249. See also baptism; Catholicism; Christianity; emancipation
religious beliefs, and paganism, 114–15, 116–17, 152–53, 153, (154–55). See also specific religious beliefs
revolutionary subjects, and portraits of aristocracy in Haiti, 84–85, 84–85
Robertson, George, 14–15, 15
Rochegrosse, Georges, Model for the tapestry Lacon-quéte pacifique de l’Afrique…, 256, 258
Roger, Adolphe: Baptism of the Eunuch, 160–61, (162–63)
Ordination de trois jeunes Africains du Sénégal, 149, 150
Rogers, John: The Fugitives Story, 220, 220
The Slave Auction, 176, 176
The Wounded Scout/A Friend in the Swamp, 194, 194–95
Roman era: overview, xv, xvi, 64
abolition in France and, 62–63, 64
black, use of term, xiv
dress and, 132, 134–35, 135, 246, 248, 248, 277
Hellenistic period and, xv, xvi, xvii
slaves and, xvii, 156, 156–57, 158
sword and, 246, 248, 248
whites’ victories in West Africa compared with, 246, 248, 248
Romanticism, 68, 81, 97, 99, 111, 273
Room, Henry, 148–49, 149–50
Rugendas, lohann Moritz, 120, 120
after style of, 117, 118–19
runaways (fugitives): aesthetic/unaesthetic image and, 192, 192–93, 194, 236
chains and, 180–81, 180–81, 192, 192–93, 194, 236
during Civil War, 190–94, 191–92, 194–95, 204, 236
emancipation from tyranny in Europe compared with, 204–5, 204–5
Europeans’ vision of, 177, 178–81, 179–82
whites’ suffering compared with, 194, 194–95
women and, 220, 220
Russia, 156, 156–57, 158, 271
 
Saint-Domingue (Haiti). See Haiti (Saint-Domingue); portraits of aristocracy in Haiti (Saint-Domingue)
Saint-Gaudens, Augustus: Head of black soldier, 240, 240
Robert Gould Shaw Memorial, 237–38, 238, (238–39)
saints: overview, xv
sainthood for blacks and, 104–5, 105. See also specific saints
salvation, ix, xv, xvii, 12. See also baptism; evangelization; universalism
Santa María y Sedano, Marceliano, The Triumph of the Holy Cross, 248, 249
satire. See caricatures
Satterwhite, Thomas, John Brown’s Blessing, 217, 218–19
Savage, Edward, The Washington Family, 26, 28–29, 28–29
Scheffer, Ary, he Christ, 156, 156–57, 158
scientific racism, xii, xix. See also racial theories
semiotic theory (signs and symbols), 2, 6–7, 10. See also symbol of abolition; symbol of emancipation
servant/attendant: as female, xviii, 16–17, 18–19, 19
as male, ix, xi–xii, 24–26, 24–29, (26), 28–29
Shakespeare, William, Othello, xiv, 95–96, 272
Sheba (queen), xv–xvi
shield, 56, 56–57, 111–13, 112–13. See also armorial bearings
Sierra Leone, and relocation of freedmen, 78, 78–79, 80
signs and symbols (semiotic theory), 2, 6–7, 10. See also symbol of abolition; symbol of emancipation
Simpson, John Philil, The Captive Slave, 1, 2
skin color: black/dark, xi–xii, xv–xvi, 143, 144–45, 253, 254–55, 255
brown, xiv
Orientalism and, 161, (162–63)
slaves and, 166, 166
slave collar, xii, xviii
slaves/slavery: overview, xvi–xix
Arabs and, xvi–xvii
auctions in U.S. and, 174–77, 175–76, 217, 219, 229
blacks/Negro as synonym for, 30, 271–72
Catholicism and, xix
Christian humility and, 158, 259, 160
Christianity and, xix, 272, 276
colonial French policies and, 59–60, 60–61, 75, 112
emblem in Greeks’ emancipation and, 109, 110–13, 111–13
England and, xix, 14
Enlightenment and, 29–31, 34–35
genre scenes in U.S. and, 184–88, 285
as historical event, 7
identity of descendants of, 7, 8–9, 9
malign influence on whites and, 127, 128–29, 130, 173
master/slave relations and, ix, xviii, 257, 259, 260
Middle Ages and, 142–43, 142–43, 156, 156–57, 158, 265
missionaries in West Indies and, 37, 40, 40
multinational and, 156, 156–57, 158
Noah’s sons narrative and, 166, 166
skin color and, 166, 166
whites as, 152–53, 153, (154–55). See also black Americans; colonial Africa; colonial British policies; commerce; proletariat/slavery comparisons
slave trade: overview, xii, xvi–xviii, 271, 277
African slave traders and, 80, 80
allegory of Commerce and, 59–60, 60–62, 112
Atlantic triangle and, 11–12, 12–13, 16–17, 18–19, 19, 31–32
brutality/refinement disparity in art and, 33–34, 33–35
Catholicism and, 156, 164, 248, 249
chains and, 7, 136, 137–38, 138–39, 277
conversion narrative and, 37, 40, 40
Dutch West Indies and, 37, 40, 40
England and, 1, 7, (48–49), 50–53, 52–53, 62, 68, 87, 103, 107, 126, 136, 137–38, 138–39, 177, 182, 276, 277
France and, 97–98, 101–2, 106, 112–13, 121, 126–27, 277
genre scenes and, (48–49), 50–53, 52–53, 62, 68, 87, 103, 107, 126, 177, 276
geographical illustrations and, 36, 36
historical events and, xii, xvii, 32–33, 33, 36, 36, 50
India/Indians and, xvi–xvii
memorials to Spanish empire and, 248, 249
misinterpretation of colonial British policies and, 16, 17
printing press, and abolition of, 81, 138–39, 139–40, 220, 223, 225
rebellions by slaves and, 132, 134–35, 134–35, 277
sentimentality and, 33–34, 33–35, 37, 38–39
ship diagram and, 45, 46–47, 277
Spain and, 104, 132, 134–35, 134–35, 248, 249, 277
well-dressed/half-naked contrasts, 3, (48–49), 50–53, 107
white slaves and, 152–53, 153, (154–55). See also Brazil, and slaves; colonial British policies; colonial British West Indies; colonial French policies; colonial policies; colonial West Indies; commerce; Middle Passage; slaves/slavery
Smirke, Robert, 74–75, 75, 80, 80
snakes: runaways and, 180–81, 180–81
as symbol of evil, 68, 69
symbols of Civil War and, 194–95, 195, 197, 209, 279
social status/hierarchy, ix, xv, xvi, 158, 159–61, 160. See also blacks’ place in white society; slaves/slavery; whites’ benevolence/blacks’ gratitude; whites’ paternalism/blacks’ gratitude
Solomon (king in Old Testament), xv–xvi
South Africa/Africans: aesthetic/unaesthetic image and, 252, 254–55
memorials to resistance against British empire and, 248, 250–53, 250–53
missionaries and, 145–46, 148–49, 149–50, 242–43
“noble savage” and, 248, 250–53, 250–53
nude/half-naked image and, 248, 250–53, 250–53
redemption and, 145–46, 148–49, 149–50, 242–43
South America/Americans, and rebellions by slaves, 66–67, 66–67, 276. See also Brazil, and slaves
Spain/Spanish: memorials to Spanish empire and, 248, 249
redemption and, 248, 249
slave trade and, 104, 132, 134–35, 134–35, 248, 249, 277
stereotypic characteristics: overview, xii, xix, 6
children and, 172, 217, 272
“noble savage” and, 248, 250–53, 250–53
Topsy character and, 172; 217, 272
Uncle Tom character and, 3, 7, 172, 212, 228–29, 228–30, 272. See also abject image; caricatures; kneeling image; negative image
stereotypic features: overview, ix, xi–xiii, xix, 6, 273–74
abolition in France and, 81, 138–39, 139–40, 220, 223, 225
hair and, xiv–xv, 271
whites’ benevolence/blacks’ gratitude and, 80–81, 81. See also aesthetic/unaesthetic image; facial features; negative image
Stothard, Thomas, The Voyage of the Sable Venus, 16, 17
Stowe, Harriet Beecher, Uncle Toms Cabin: overview, 170–73, 272
emancipation illustration and, 170, 170–71
slave auction and, 173, 174–75
Topsy character and, 172, 217, 272
studies of models (études): overview, 278
allegory of continents and, 223, (224–25), 225, 225
baptism and, 160–61, (163)
Christian humility of blacks and, 160, 160–61
European visions of emancipation in U.S. and, 206–7, 206–7
floggings in public and, 128, 128–29, 277
freed slave and, 128, 128–29, 130, (130–31)
memorials to black soldiers in Civil War and, 237–38, 238, (238–39), 240, 240
nude/half-naked image and, 98, 102–3
runaways and, 192, 192–93, 194, 236
symbol of emancipation and, 188–89, 189, 191. See also realistic features (naturalistic image)
subaltern voice, 2–4, 7
supplicating gesture: baptism and, 161, 164
medallion as symbol of abolition and, 1, 41–45, 42, 58–59, 78, 79, 80, 87, 276. See also abject image
Sweden/Swedes, and paternalism/gratitude, 54, 54–55, 56
sword, 34–35, 35, 64, 172, 246, 248, 248. See also armorial bearings
symbolic sacraments, 160–61, (163), 166, 166. See also baptism; Catholicism
symbol of abolition: cap of liberty and, 62, 62–63
caricatures and, 3, 53–54, 54
chains as, 1, 41–45, 42, 58–59, 78, 79, 80, 87, 276
England and, 3, 45, 46–47, 47, 50, 53–54, 54, 106, 107, 108–9, 121
France and, 1, 41–45, 42, 58–59, 62, 62–63, 78, 79, 80, 87, 276
kneeling image and, 1, 41–45, 42, 53–54, 54, 58–59, 78, 79, 80, 87, 107, 108–9, 276
medallion and, 1, 41–45, 42, 58–59, 78, 79, 80, 87, 276
Middle Passage and, 45, 46–47, 47, 50, 106, 121
U.S. and, 1, 41–45, 42, 58–59, 78, 79, 80, 87, 276
white image in caricatures, 3, 53–54, 54. See also abolition
symbol of emancipation: black Americans as, 188–89, 189, 191
cap of liberty as, 145, 145
exodus from Egypt as, 167–70, 168–69, 197–98, 199
French colonies and, 16–17, 18–19, 19, 145, 145
Greek emancipation as, 109, 110–13, 111–13
kneeling image and, 197–98, 199
U.S. and, 167–70, 168–69, 197–98, 199
sympathetic image. See positive image
 
texts, xvi. See also literature; specific texts
theater performers/actors, xii, 7–8, 8, 95, 95–96
Theed, William, Allegory of Africa for Albert Memorial, 225–26, 226, (226–27), 228, 242
Thomson, Henry, The Booroom Slave, 107, 108–9
Tilyard, Philip, Portrait of Citizen Jonathas Granville, 89, 91, 92
Topsy character, 172, 217, 272. See also children; Stowe, Harriet Beecher, Uncle Toms Cabin
Trumbull, John: The Death of General Warren at the Battle of Bunker’s Hill, 24–25, 24–25, (26)
George Washington, 25, 26–27
turbaned iconography: overview, xviii, 17
Magus narrative and, 17
memorials to British empire and, 245–46, 247
servant as female and, xviii
servant as male and, 25, 26–27
Turks and, 109, 110–11, 111
Turks, 109, 110–11, 111
Turner, J. M. W, The Slave Ship (Slavers Throwing Overboard the Dead and Dying), 7, 136, 137–38, 138–39, 182, 277
 
unaesthetic/aesthetic image. See aesthetic/unaesthetic image
Uncle Tom characteristics, 3, 7, 172, 212, 228–29, 228–30, 272. See also abolition in U.S.
United States: overview, 92, 274, 277–78
abolition of slave trade and, 1, 113, 277
aesthetic/unaesthetic image and, 174–77, 175–76
allegory of Liberty and, 29, 30–31, 56, 87, 261
American Indians and, 4, 214, 215, 223, (224–25), 225, 225, 256
American Revolution and, 15, 24–25, 24–25, 78, 78–79, 271
black defined in, 274–75
Europeans’ vision of blacks in, 10, 19, 20, (20–21), 21–26, 22–23, (24), 26–29, 28–29, 97
evangelization of Africa and, 92
fasces as symbol of, 56, 56–57
genre scenes of Europeans’ vision of blacks in, 10, 19, 20, (20–21), 21–23, 22–23, 23–24, (24), 97
missionaries in, 135, 151, 152, 225
Negro defined in, 274–75
patrons/commissions and, 274
servant as male and, 24–26, 24–29, (26), 28–29
shield as symbol of, 56, 56–57
slave auctions and, 174–77, 175–76, 217, 219, 219
whites’ benevolence/blacks’ gratitude and, 29, 30–31, 56, 56–57, 87, 261. See also abolition in U.S.; black abolitionists in U.S.; black Americans; Civil War
universalism, ix, 37, 40, 40, 143, 144–45, 160–61, (163). See also baptism; evangelization; salvation
 
van Hove, Victor: Esclave nègre après la bastonnade, 128, 128–29, 277
La Vengeance, 128, 128–29, 130, (130–31)
Vedder, Elihu: The Cumaean Sibyl, 200, 200–201
Jane Jackson, 198, 198–99
The Questioner of the Sphinx, 197–98, 199
Verdier, Marcel Antoine, Châtiment des quatre piquets …, 117, 127, 128–29, 130, 173, 277
Verlat, Charles, Voix Dei, 158, 158–59
Vernet, Joseph, 37, 38–39
Victoria (queen of Great Britain), 245–46, 247, 261
Vigneron, Pierre-Roch, 150–51, 150–51
von Breda, Carl Fredrik, Portrait of Carl Bernhard Wadström Instructing a Negro Prince, 54, 54–55, 56
von Carolsfield, Julius Schnorr, The Battle of the Six on the Island of Lampedusa, 152–53, 153, (154–55)
 
Ward, James: Finished study for The Liboya Serpent Seizing Its Prey, 67, 68–69
Study for The Liboya Serpent Seizing Its Prey, 68, 69
Ward, John Quincy Adams: Freedman, 192, 192–93, 236
Henry Ward Beecher Monument, 234–35, 234–35, (236–37)
W. E. B. Du Bois Institute for African and African American Research, vii, viii, x
Wedgwood, Josiah (workshop), Am I Not a Man and a Brother?, 1, 42, 43–44, 58–59, 78, 79, 80, 276
Weekes, Henry: Funerary bust of Zachary Macaulay, 78, 79, 80
Mary Seacole, 1–2, 2
West, Benjamin, Portrait of John Eardley-Wilmot, Esq., 78, 78–79
West Africa/Africans: overview, xv, xvii, xviii, 14
benighted, 246, 248, 248
cartography and, xv
colonial Belgian policies and, 257, 259, 260
commemoration of colonial British victories in, 246, 248, 248
Congo and, xviii, 256–57, 259, 260
dress and, 246, 248, 248
memorials to Spanish empire and, 248, 249
missionaries and, xviii, 149–51, 150–51
slave trade and, xii, xvii, 14, 248, 249
whites’ paternalism/black’s gratitude and, 54, 54–55, 56. See also Africa/ Africans
Western, use of term, xii–xiii
Western art, ix, xi, xiii–xv
Westmacott, Richard, Funerary monument of Charles James Fox, 75, 76, (76–77)
white abolitionists in U.S.: commemorative medals for heroes in emancipation in U.S. and, 213–14, 213–15
memorials to heroes of emancipation and, 7, 209, 211–14, 212–15, 217, 218–19, 228–29, 228–30
whites’ reception of blacks’ gratitude and, 230–31, 231–32. See also abolition in U.S.; black abolitionists in U.S.; emancipation in U.S.; white image; whites; whites’ benevolence/blacks’ gratitude; whites’ paternalism/blacks’ gratitude
white image: overview, xiv–xv
allegory of Charity and, 143, 144–45
allegory of Liberty and, 256–57, 259, 261
allegory of Nature and, 34–35, 35, 64, 172
baptism and, 164, 165, 166
caricatures and, 3, 53–54, 54
caricatures in symbol of abolition in England, 3, 53–54, 54
Catholicism and, 104–5, 105
children and, 4, 4–5, 37, 40, 40, 172, 217
colonial Belgian policies and, 257, 259, 260
executioners at floggings and, 117, 119
genre scenes of black Americans and, 184–88, 185
memorials to emancipation in U.S. and, 217, 218–19, 234–35, 234–35
Middle Passage and, 120, 120
in symbol of abolition in England, 3, 53–54, 54
symbol of Greek emancipation and, 109, 110–11, 111. See also allegory of Liberty; black-white contrast; white abolitionists in U.S.; whites
whites: use of term, xiv
as abolitionists in France, 81, 138–39, 139–40, 220, 223, 225
blacks’ relations with, viii, xv–xvi
Christian humility of, 151, 152, 153, 225
explorers’ lives in Africa and, 241–43, 242–45, 245
half-naked image contrasted with well-dressed, (48–49), 50–53, 107, 228–29, 228–30, 232, 232–33, (232–33), 241–42, 242–43
memorials to British empire, and lives in Africa of, 241–43, 242–45, 245
racial theories and, 271–72
runaways’ suffering compared with, 194, 194–95
slavery of, 152–53, 153, (154–55). See also abolition in France; black-white contrast; slave trade; white abolitionists in U.S.; white image; white superiority
whites’ benevolence/blacks’ gratitude: abolition in England and, 142–43, 142–43, 265
abolition in France and, 81, 138–39, 139–40, 220, 223, 225
allegory of Justice and, 142–43, 142–43, 265
Catholicism and, 151, 152, 225
emancipation and colonial British policies and, 1, 74–75, 75, 132, 142–43, 143, 265
emancipation and colonial French policies and, 145, 146–47, (147), 151, 152, 170, 225
emancipation in U.S. and, 203, 204
English and, 74–75, 75, 76, (76–77), 78, 78–79, 80
humility of whites and, 151, 152, 153, 225
inferior/outsider image and, 151, 152, 225
kneeling image and, 7, 56, 56–57, 74–75, 75, 212, 228–29, 228–30
memorials to British empire and, 225–26, 226, (226–27), 228, 242
memorials to emancipation in U.S. and, 7, 212, 228–29, 228–30
memorials to French empire and, 223, (224–25), 225, 225
missionaries in Africa and, 54, 54–55, 56
Protestantism and, 11
Swedes and, 54, 54–55, 56
U.S. and, 29, 30–31, 56, 56–57, 87, 261. See also whites’ paternalism/blacks’ gratitude; white superiority
whites’ paternalism/blacks’ gratitude: emancipation in U.S. and, 203, 204
memorials to emancipation in U.S. and, 232, 232–33, (232–33)
memorials to French empire and, 232, 234, 234
Swedes and, 54, 54–55, 56. See also social status/hierarchy; whites’ benevolence/blacks’ gratitude
white superiority: overview, 30, 260–61, 271–72, 280
allegory of Africa and, 138–39, 139–40
memorials to British empire and, 245–46, 247, 261, 262–63
memorials to British victories in West Africa and, 246, 248, 248
memorials to heroes of emancipation in U.S. and, 217, 218–19
resistance in Egyptian Sudan and, 253, 254–55, 255. See also whites; whites’ benevolence/blacks’ gratitude
women: as allegory of Africa, 138–39, 139–40, 223, (224–25), 225–26, 225–26, (226–27), 228, 242
as allegory of Britain, 78, 78–79
as allegory of Charity, 143, 144–45
as allegory of Commerce, 59–60, 60–61, 112
as allegory of France, 59, 60
as allegory of Justice, 142–43, 142–43, 265
as allegory of Nature, 34–35, 35, 64, 172
as allegory of Peace, 75, 76, (76–77), 78
cap of liberty and, 62, 62–63
civil rights for, 4, 62, 62–63, 64, 214, 215, 234–35, 234–35, (236–37)
memorials to heroes of emancipation in U.S. and, 220, 220
servant as female and, xviii, 16–17, 18–19, 19. See also specific women
Wood, Thomas Waterman: American Citizens (to the Polls), 202, 202–3
A Southern Cornfield, Nashville, Tenn., 188–89, 189, 191, 277
World War I, 263, 271