Images of Anti-Slavery

The UK has the unenviable distinction of having been a global leader in the Atlantic slave trade, second only to Portugal. British ships transported more than three million Africans to the Americas between the 1600s and 1807. The profits of the trade and the labors of the enslaved were huge. 

[Image: British Slave Ship, Insurrection on Board a Slave Ship, Carl Wadstrom, An Essay on Colonization, 1795]

By the late 18th century, a movement to end the trade and eventually slavery itself began to gain momentum in Britain. Anti-slavery sentiment arose from both religious and secular sources. 

Religious sects like the Quakers had long opposed slavery. After mid-century, they were joined in Britain by members of Dissenting (Non-Anglican but Protestant) sects such as Methodists and by some Anglicans. 

The influence of Enlightenment thinkers also played a role. The illustration below, from Voltaire's popular novella Candide, shows Candide and his companion Cacambo encountering a slave who has had his hand destroyed in a mill and a leg cut off for running away. The slave tells them, "This is the price of your eating sugar in Europe."

In the 1780's, the pioneering potter Josiah Wedgwood, Charles Darwin's grandfather, produced the famous medallion below on behalf of the movement to end the slave trade.

The image below, of "tight packing" aboard the slave ship Brookes, was published in Plymouth, England in 1788. It became an icon of the antislavery movement. Mortality onboard such vessels was often enormous. As much as 50% of the "commodity" did not survive the voyage. 

In the same year, British artist George Morland exhibited his sentimental genre painting "The Slave Trade," showing Africans being loaded into boats on the West African coast.

The painting below, by JMW Turner, depicts the infamous case of the slave ship Zong . The Zong Incident occurred in 1783, almost sixty years before Turner painted his take on it. 

When the Zong overshot its intended destination in Jamaica and ran low on water, the captain ordered more than 100 Africans thrown overboard in order to save the rest. The captain claimed insurance on the "lost cargo." The insurance company refused to pay.

In the court case that followed, Lord Chief Justice Mansfield (pictured below), who had effectively declared slavery illegal under English law in 1772, denied the insurance claim. Many people thought the captain and his henchmen should have been tried for murder.

The Zong "Massacre," as it is often called today, galvanized opponents of the slave trade. In its wake, they mounted a mass popular movement to end it, led by MP William Wilberforce. Parliament finally abolished the slave trade in 1807. 

Abolition of slavery itself in the empire followed in 1833, but the institution survived decades longer in many parts of the globe. Turner's painting the Zong Massacre in was done in 1840 for the International Conference on Abolition of Slavery, held in London.

The legal slave trade to the USA ended in 1808, but a clandestine trade and slavery itself lasted until the end of the Civil War. British artist Eyre Crowe produced a famous depiction of a slave sale in Charleston, South Carolina in 1856. 

During the Antebellum Era (1820-1860), abolitionists in the USA produced many anti-slavery images. They tended to focus on the brutality and violence of the slave system, in which slaveowners wielded tyrannical power over their human chattels. Below are a few examples.

Today, a new curriculum for US History in the Florida of Governor Ron DeSantis, emphasizes the "benefits" of slavery to the enslaved.  He is simultaneously at war with one of Florida's biggest economic powerhouses, Disney, Inc. 

There is a certain irony in this. Disney famously produced a film that, inadvertently, perhaps, made slavery look like a Good Barbie land. I refer of course to Song of the South (1946), the movie based on the Uncle Remus Stories of Joel Chandler Harris. 

My, oh my, what a wonderful day! Zippity do da! Zippityay, sings Uncle Remus to the nice little white children of his owner. Yes, it was that good. 

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Francis Barber: the Slave who became Samuel Johnson's Heir

Samuel Johnson  (1709-1784), often referred to as Dr. Johnson, is best known for his Dictionary of the English Language (1755), and the classic biography of him by his friend James Boswell, The Life of Dr. Johnson. (Below: Portrait of Johnson by Joshua Reynolds)

Among Johnson's many other writings is a long essay, Taxation No Tyranny: An Answer to the Resolutions and Address of the American Congress  (1775). As the title indicates, Johnson rejects the American colonists' complaint that they were being oppressed by taxes levied by the British parliament. 

Among other things, Johnson argued that the Americans' claim that there should be "No Taxation without Representation" was unfounded. The colonists had voluntarily resigned the power of voting in British elections by leaving Britain, but retained "virtual representation" in Parliament, as did British people who had no right to vote. If the colonists wanted to take part in British politics, he suggested, they could move to England and buy an estate. 

This argument was unconvincing then and hasn't improved with time. Taxation No Tyranny has contributed to the common view of Johnson as an arch Tory. In some respects he was, but the reality is more complicated, and far more interesting. Another of Johnson's arguments is far more powerful -- and liberal. It may be summed up in the line "How is it that we hear the loudest yelps for liberty among the drivers of negroes?" 

Here Johnson hit the colonial argument for liberty at its most vulnerable point. The colonists claimed that the British government was trying to enslave them while holding hundreds of thousands of people in the most oppressive form of bondage. 

Johnson, unlike most influential Britons in the 1770s, considered slavery an abomination. He once proposed a toast to "the next rebellion of the negroes in the West Indies." He also argued that if the Africans were freed and given some land, they would likely prove better citizens than their masters.

Johnson did more than talk the talk. Years before he essentially adopted a former Jamaican slave, Francis Barber, and educated him. Barber entered Johnson's household as a boy in 1752. Johnson's wife Elizabeth had just died, plunging Johnson into a deep depression. Barber's owner sent Barber to serve as Johnson's valet. 

Barber  (1742/3-1801), originally named Quashey, was still a slave at that time, but his owner freed him two years later. After gaining his freedom, he worked for an apothecary, briefly as a sailor in the Navy, and then as Johnson's assistant. Barber married Elizabeth Ball, a white woman with whom he had two children. In his will, Johnson left Barber a substantial legacy in money along with his books and papers, and a gold watch. 

The portrait above, which some art experts attribute to Johnson's friend Joshua Reynolds, hangs in Johnson's house today. Whether it is a portrait of Barber or not is disputed. Some experts think it is a portrait of Reynolds' manservant. 

Johnson's house, just off Fleet Street in Gough Square, is open to the public daily. It is well worth visiting to learn more about Johnson and Barber.

Further Reading: Michael Bundock, The Fortunes of Francis Barber: The True Story of the Jamaican Slave who Became Samuel Johnson's Heir (New Haven and London: Yale University Press, 2015)