The Ideology of Chapman′s "The Baptism of Pocahontas"

"The Baptism of Pocahontas

"

painted by John Gadsby Chapman

oil on canvas, 12′ x 18′; commissioned 1837; placed 1840

"

Pocahontas is depicted in white as she is baptized Rebecca by Anglican minister Alexander

Whiteaker in Jamestown, Virginia; this event is believed to have taken place in 1613 or 1614.

She kneels surrounded by family members, including her father, Chief Powhatan, and colonists.

Her brother Nantequaus turns away from the ceremony. The baptism occurred before her

marriage to Englishman John Rolfe, who stands behind her. Their union is said to be the first

recorded marriage between a European and a Native American. The scene symbolizes the belief

of Americans at the time that Native Americans should accept Christianity and other European

ways

."

(Source: http://www.aoc.gov/cc/art/rotunda/baptism_pocahontas.cfm [23/4/2006])

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In 1837 John Gadsby Chapman was commissioned to paint one of the eight paintings

adorning the rotunda of the Capitol in Washington D.C. and depicting important events in the

history of the United States. Although the other paintings present national male heroes,

Chapman′s contribution, "

The Baptism of Pocahontas

", was considered to be appropriate

because of its religious elements and its message about the Native Americans.

On the one hand, the artist intended to paint a historical scene that had not been

`explored′ by artists until then. According to Chapman there were "some subjects of thrilling

incident connected with our history untouched [...]" (Tilton, 1994, p. 104, quoted on http://

www.lehigh.edu/~ejg1/natimag/pocahontas.htm [23/4/2006]). For Chapman the decisive

moment in Pocahontas′ life obviously was her conversion to the Christian faith and not her

rescue of John Smith from execution.

On the other hand, Chapman explained his intentions and justified his decision to portray

Pocahontas by writing a pamphlet in which he described her as one of "those wandering

children of the forest who have [...] been snatched from the fangs of a barbarous idolatry, to

become lambs in the fold of the Divine Shepherd. She therefore appeals to our religious as well

as our patriotic sympathies and is [...] associated with the rise and progress of the Christian

Church as with the political destinies of the United State" (Chapman, 1840, p. 5, quoted on

http://www.lehigh.edu/~ejg1/natimag/pocahontas.htm [23/4/2006]).

Moreover, the painting seems to celebrate the peaceful and voluntary entry of a Native

American into the Christian faith and the western civilization, while at the same time

depreciating the unwilling savages, who disapprove of everything connected with the `modern′

world (cp. http://xroads.virginia.edu/~cap/POCA/Pocanew3.html [23/4/2006]). In order to

illustrate the problematic and strained relationship between Anglo-Americans and Native

Americans Chapman integrated some members of Pocahontas′ family in the picture. However,

their presence at the baptism is actually not proven.

Nantequaua, Pocahontas′ brother, turns away from the conversion of his sister, unwilling

to witness her acceptance of Christianity and European culture. Pocahontas′ sister, who is seated

on the floor and holds a child, seems to be anxious, interested and curious at the same time.

Opechankanough, Pocahontas′ uncle, is sitting to the right of Pocahontas′ sister. He is obviously

not interested at all in the ceremony and simply ignores it. In contrast to Pocahontas they are all

depicted as savages, because they reject the benefits of European culture and Christian religion.

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